Early on in the history of Gnod, one blog reported that this mysterious Mancunian collective took their name from an acronym abbreviating ‘Global Network Of Dreams’. However, the band themselves wasted little time disavowing the wider world of this. “Feel like we should point out that that’s not where we got our name” they clarified. “If Gnod stands for anything, it stands for the universal god of fuck all”.

True enough, in the decade of their existence this band has always struggled free of anyone’s attempts to pigeonhole or label them, exceeding and warping expectations at every turn in a ceaseless mission to create and confront. No sooner had they carved out a reputation with fans of psychedelic rock and drone alike with mind-flaying records like 2010’s White Hills collaboration ‘Drop Out II’ and 2012’s fiery ‘Chaudelande’, than they chose to dispense with guitars and drums altogether and pursue an uncompromising and entirely electronic setup, with scant care for anyone who was confused or alienated in the process, and with less regard for escaping an overcrowded and limited scene than simply doing whatever they pleased. Yet once 2015’s sprawlingly diverse and binary-fuelled ‘Infinity Machines’ had made its presence felt, Gnod were suddenly stripped back to a tight, angular rock outfit for the following year’s harsh and politically charged ‘Mirror’, wherein garage-band intensity and dub abstraction intertwined.

However, even morphing their own sound and output faster than almost anyone outside of their inner circle can easily understand, Gnod have never strayed far from a central vision throughout, with a fierce counter-cultural drive, an anarchic spirit and a visionary hunger for expression fuelling a prodigious work rate from an ever-evolving line-up. Whilst Paddy Shine, Chris Haslam and Marlene Ribiero have been present at every stage of the journey, a total of nearly fifty musicians have been a part of the collective along the way, unified by its psychic charge and open-minded, inclusive yet uncompromising approach.

A crucial watermark in the band’s life came when they moved into the Islington Mill, an arts space and venue in Salford whose ethos soon became simpatico with the collective’s outlook – indeed, soon the band also founded Tesla Tapes, a label on which to release solo and collaborative work. A relentless focus on collaboration has also seen Gnod work with everyone from Charles Hayward (as Anonymous Bash) to author John Doran, and from Radar Men From The Moon to Surgeon. The touring schedule of this band has been unforgiving and formidable, the discography sprawling and many-splendored to the point of dementia, alongside festival work and commissions too numerous and illustrious to list, with the collective as comfortable working on a soundtrack for Jodorowsky‘s unmade version of Dune at Cork Film Festival as embarking on a programme as an artist in residence at Roadburn Festival 2017.

With the release of their current album ‘Just Say No To The Psycho Right Wing Capitalist Fascist Industrial Death Machine’ on Rocket Recordings, arguably the band’s most singular and startling album, the ire and idealism of this unique outfit has never burned brighter. Call them the most consciousness-expanding punk rock band in the world, or the most monochrome and nihilistic psychedelic one – call them what you like in fact, but Gnod will remain everything you can imagine, yet nothing more than those four letters.

“Far more than a simple exercise in rock as violent fury, or as political vehicle for that matter, Gnod’s latest effort is yet another important musical statement from a group firmly at the forefront of everything good about British underground music.” Drowned In Sound

“Where other artists provide an implicit, ominous reference to dehumanisation through visual means, GNOD are explicit in their references, picking out situations and conditions of human exploitation and obscenity.” The Quietus (#17 Album of The Year)

“On ‘Just Say No…’ Gnod explore cacophonous avant-garde rock music with elements of Swans, Spacemen 3 and country folk The Fall swirling in it’s DNA” Uncut

“Gnod are one of modern Britain’s most vital groups” Terrorizer

“The songs Gnod create are more or less in a league of their own to the point where flimsy words simply cannot do them justice. This album is both so enticing and so uninviting at once, perhaps intended to be as oppressive as the world we find ourselves in.” God Is In The TV


  • 24 Minutes Over Manchester
  • Abastehen Der Ohren Part 1, 2, 3 & 4
  • Bits
  • Black Side
  • Dropout
  • Elka
  • Hippydrone
  • Holy Empire
  • Per Sempre
  • Prelude
  • Run-A-Round
  • Shitting Through The Eye Of A Needle In A Haystack
  • Spaced Man
  • Streams
  • The Secret Society Of Ants
  • Twin Within
  • Well Hang
  • White Side
  • 5th Sun (Chaudelande Version)
  • A Very Special Request
  • Big Chief
  • Deadbeat Disco In Paper Error Shocker
  • Entrance
  • Genocider
  • Man On The Wire
  • Paper Error
  • The Crystal Pagoda
  • The Somnambulists Tale
  • The Vertical Dead
  • Tony’s First Communion
  • Tony’s First Disco
  • Tron
  • Vatican
  • Visions Of Load
  • White Privileged Wank
  • Why Don’t You Smile Like Other Children
  • Bodies For Money
  • Breaking The Hex
  • Collateral Damage
  • Control Systems
  • Desire
  • Inevitable Collateral
  • Infinity Machines
  • Learn To Forgive
  • People
  • Real Man
  • Sodom & Gomorrah
  • Spinal Fluid
  • Stick In The Wheel
  • The Importance Of Downtime
  • The Mirror
  • Donovan’s Daughter
  • Europa
  • Voice From Nowhere
  • A Body
  • Uncle Frank Says Turn It Down