#345: DESTRUCTION UNIT + SUPPORT: LIVE IN MANCHESTER

Islington Mill in Salford was host to an all-nighter event where 7 Extreme Metal, Rock and Hardcore bands played for the ridiculous bargain price of £5, featuring US Noise Rockers Destruction Unit as the headlining act.

BLOODY HEAD

Opening this evening of extreme sounds was Garage Punk quintet Bloody Head. They kicked right into noisy washed out guitar riffs with an essence of that Stooges raw power. Pounding drums and a bass that sounded like it was wading through a swamp were laced with their lead vocalist's indecipherable psyched out yelling. The whole band were pumped up and full of energy, with their lead vocalist walking around the crowd, screaming like he was in agony and at the most intense parts, even collapsing on to the floor, writhing around screaming with his shoes flung off his feet! Their set climaxed with a lengthier and doomier piece. Bloody Head kicked the evening off with very high quality, delivering a set full of tension, plenty of aggression and genuine passion. 8/10.

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AGGRESSIVE PERFECTOR

This Thrash Metal trio sound and look like they have never left 1984! Donning spikes and vintage Horror movie t-shirts, Aggressive Perfector set the Islington Mill stage on fire (not literally) with what they call Satan's Heavy Metal! Having seen them many times before, I think they had been given far too much reverb than what they are used to, sounding like they were performing in an echo chamber. Regardless, the band battled through it with their fast palm muted riffs and demented screams and wails. They almost had a bit of a Celtic Frost vibe going on tonight, but they got the strong crowd banging their heads and sweating. Closing song "Certain Death" is an absolute belter worthy of Slayer, whose own track "Aggressive Perfector" gave them their name. Satan was very much pleased with their performance tonight! 8/10.

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DENIM & LEATHER

Sporting a similar range of influences to opening band Bloody Head, Denim & Leather also sounded very raw, with a punky energy and haggard, bleeding guitars that rusted in agony! They were also lead by a very energetic vocalist who stumbled into the crowd. Between their primal Garage Hardcore songs they even threw in a couple of 1 second wonders, reminiscent of Napalm Death's immortal "You Suffer (But Why?)". Demin & Leather very much varied their tempos from song to song, finishing on a long Post Punk dirge. A difficult band to pin down, but I think Bloody Head may have just stolen their thunder tonight! 7/10.

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TV CRIME

Offering a slight breather in the running order was Nottingham based TV Crime, who were the most (and arguably only) melodic band of the evening. They certainly continued the theme of having a raw Garage Rock sound (or perhaps that is just the way bands sound at Islington Mill?) But TV Crime also sported a Slacker Indie Rock style, reminding me of bands such as Pavement, Dinosaur Jr and Parquet Courts at times, but I even heard a bit of a Buzzcocks influence too. Their sound was lead by chunky Power Pop riffs and sweeping melodic leads. Their lead vocalist had a soothing voice and their songs were fun and had a positive feel. There wasn't too much variation in their song formulas, but I think even the Extreme Metal fans seemed to really be getting down to their warm sounds. 7/10.

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EXXXEKUTIONER

Islington Mill's trapped reverb heavy sound worked wonders for Salford based Blackened Thrash Metallers Exxxekutioner. Islington Mill turned into Dracula's dungeon as the lights turned out with just a red glow creeping from the stage. A think fog of dry ice covered the whole room as the four Exxxekutioner's rose from the crypt. Lead vocalist Cliff's blood curdling blackened shrieks were terrifying and filled the room, as Ryan's lightning fast riffs pierced like daggers. The quartet blistered through a venomous and intense set, perfectly finding a meeting point between the fast aggression of Thrash and the cold misery of Black Metal. The front of the pit became a frenzy of moshing and headbanging. A cover of Celtic Frost's legendary "Into the Crypt of Rays" sealed the deal. This is the best I've heard Exxxekutioner yet and they delivered one of the best performances of the evening! 9/10.

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DESTRUCTION UNIT

Headlining band Destruction Unit have ventured all the way from Arizona, USA and they certainly have an apt band name! With 6 band members packed onto the tiny Islington Mill stage, Destruction Unit attacked the audience with 4 loud and noisy guitars all churning away in tandem! After deafening levels of noisy feedback, the drummer kicked into a fast and Hardcore influenced groove with pounding drums and choppy fills. The band's mixture of full on tremolo guitars and pedal worship created an impenetrably thick soup of chaos that actually hurt my ears even though I was wearing ear plugs!

Destruction Unit delivered a blistering set of raw and unrelenting noise that would have even made Sonic Youth push their hands to their ears! It started to feel like my head was being crushed in a vice at first, but there were parts were it also felt like my brain was being intensely massaged! Destruction Unit are almost like the antithesis of Sunn O))), achieving silly levels of loudness, but playing at breakneck speed. On the poster included inside the vinyl of their latest album "Negative Feedback Resistor" (released by Sacred Bones Records), it states "Destruction Unit have sacrificed their ears... Will you lend them yours?" This is the perfect tagline for the band, as their dedication to punishing loud noise cannot be faltered. One of the most intense and overwhelming live acts I shall ever experience! 9/10.

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GNOD

Gnoisemakers Gnod often record at Islington Mill and have something of a residency here. The multi-genre collective released one of my favourite records of 2016 so far, "Mirror", which saw them shift from a Psych/Krautrock inspired sound to full on apocalyptic Drone Rock, so I was very excited to see them obliterate the mill tonight. Coming on at 1am, to my surprise the 3-piece performed a purely Electronic set without a guitar in sight. Over the space of an hour, Gnod composed a unique single piece of music in a blackened room with black and white projector imagery and piercing strobe lights illuminating them on stage. Driven by a looping Industrial beat and Dark Ambient synthesisers, Gnod gradually built up a suffocating and Horror influenced atmosphere. Samples of laughter and creepy voices panned across the room. Gnod had a setup of drum machines, modular synth and lots of pedals as the trio stood around a large table with lots of wires covering it like moss. Occasionally one of the trio would scream into the mic and manipulate the sound into piercing feedback. As if Destruction Unit hadn't already shattered our minds into pieces, Gnod were here to vacuum up any remaining brain fragments. Their eerie droning was often hypnotic, but with so much repetition and glacial pacing, a little more variation would have made for a more interesting experience. 7/10.

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June 25th 2016 @ Islington Mill, Salford.

NEW FEATURE: FRENCHIE'S LISTENING POST - APRIL

FRENCHIE'S LISTENING POST

Because I don't get time to review all the new music I hear in depth, I have decided to start doing some smaller reviews, rounding up the best (and worst) releases of each month!

ALBUM OF THE MONTH:

BOSS KELOID - HERB YOUR ENTHUSIASM

Sludge Metal, Prog Metal. Black Bow Records.

The Wigan based band's 2nd studio album combines Sludge, Stoner, Prog and Psychedelia into one continuous sphere. This 10 track, hour long opus has been very well recorded. Their sound mixes up Doomy power chords with guitarist Paul Swarbrick's signature twiddley arpeggios. Lyrically the album is very earthy, referencing mountains and valleys, as well as being an ode to the many aspects of smoking the herb. The album is very progressive, very technical, but also hits you more directly than their debut album. Full of colossal riffs, virtuoso playing across the board, and forward thinking, tempo busting songwriting. Boss Keloid have made an epic Metal opus that stands out from their peers. 9/10.

Click here to read the full in depth review I already wrote.

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THE FIELD - THE FOLLOWER

Minimal Techno, Electronic. Kompakt.

The fifth album by The Field, one man from Stockholm. It is his second album in a row to feature a stark black sleeve. The Field is a master of building up lengthy progressive techno that builds ever so subtly and gradually. Starting with a pulsating 4/4 beat and a swell of Leftfield inspired techno, the constant forward motion of the beat feels like you are riding on a train. There are even pinches of noisy squeals here and there adding to this atmosphere. The whole album is constantly moving forward, with "Monte Verita" probably being the standout. This is an album that is perfect for a warehouse rave, but also perfect for your daily commute to work (with headphones in of course). Though it is repetitive, the subtle grooves and whirling layers of synthesisers will certainly get under your skin in a hypnotic fashion. You will end up humming along even after the record has finished. One of the most sublime Electronic releases of the year so far. 8/10.

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DEFTONES - GORE

Alternative Metal. Reprise Records.

One of the most highly anticipated albums of the year. Deftones are the band who managed to escape the Nu-Metal era with the most dignity and have since evolved their sound. With guitarist Stef Carpenter's love of Meshuggah on show, I think he is now up to 8 strings on his guitar, playing downtuned techy riffs. However, whilst Meshuggah is an all out brutal assault, Deftones have managed to make a genuinely beautiful record. "Prayers/Triangles" is a fantastic opener that perfectly shows you the balance they have mastered. It begins with clean, atmospheric guitars, with textured ambient keyboards creeping in, whilst the chorus hits you with a dense wall of chugging, downtuned distorted Sludgy riffs, and the aggression starts to show itself. Chino's vocal performance is unbelievable as usual and there some very interesting lyrics and song titles across the album.

The 1-2-3 punch of "Prayers/Triangles", "Acid Hologram" and "Doomed User" will have you sold on this record. The way Acid Hologram" ends with the lyrics "Our hearts will sync in time / Your disguise will shift and reverse", immediately followed by the sound of a record or tape skipping backwards, before kicked into the massive Sludge riff of "Doomed User", is one of the greatest song transitions I've heard this year! "Doomed User" itself is the most all out Metal song, with meaty, Thrash leaning riffs and a truly pissed off vocal! Outside of that, "Hearts/Wires" is another knockout and "Phantom Bride" has a great guest lead guitar from Jerry Cantrell. "Pittura Infamante" is perhaps the only weak link, being an all out Indie Pop track. "Gore" is a record that perfectly balances beauty and aggression, with consistently good songwriting to boot. Deftones are one of the few bands in mainstream Metal who can combine big soaring choruses with heavy riffs and pull it off with complete dignity. 8/10.

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PARQUET COURTS - HUMAN PERFORMANCE

Indie Rock, Slacker Rock, Post Punk. Rough Trade.

To me Parquet Courts have always seemed like an incredibly hip band, picking up exactly where Pavement left off, with plenty of nods to The Fall along the way. Whilst this is still evident, there is also something boldly refreshing about this band that I can't quite put my finger on. The way they weave together their half-nonsense lyrics around their scatty and quirky guitars is something to be admired, but they also keep their songs under control. The result is something that also draws from the unhinged versatility of The Velvet Underground, seen especially in the album's knockout track "One Man, No City", which begins as a catchy Post Punk rocker and ends with a lengthy jangly guitar jam. The title track here is also a supremely powerful and somewhat anthemic track. Opener "Dust" has a strong Americana vibe that sees Wilco's Jeff Tweedy guest on guitar. Parquet Courts may appear a little obnoxious at times with how quirky their music, album art and song titles are, but besides that they are proving themselves to be one of the finest Indie/Alternative Rock bands going right now. 8/10.

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JOHN CARPENTER - LOST THEMES II

Synthwave, Progressive Electronic. Sacred Bones Records.

Film director maestro John Carpenter (Halloween, The Thing, They Live, etc.) has always been talked about more as a film maker than a musician, despite composing the music to most of his films. But with last year's incredible "Lost Themes" album, he managed to break away and prove himself as a great musician and composer in his own right. This urged critics and fans to look back on his incredible soundtrack work, reminding us all that he was truly one of the synthesiser pioneers up there with Vangelis and Jean Michel Jarre. Like any successful Horror film, a sequel has quickly emerged. Carpenter hasn't really confirmed whether these lost themes are brand new compositions, or actually compositions that didn't make the cut to some of his iconic films (as the title suggests). Either way, when you listen, you will be picturing scenes from his films. With a strong Sci-Fi and Horror feel throughout, "Lost Themes II" showcases some of the most epic and gorgeous synth sounds. Some of the songs also add electric guitars, as well as a little bit of cheese along the way, but without getting too silly. The two best songs for me are "White Pulse", with a similar creepy melody to Dario Argento's Suspiria, and the subtle use of glockenspiel, plus epic closer "Utopian Façade" with an epic Blade Runner feel that will push the parameters of your stereo system! With the whole retro-synth sound as well as vinyl soundtracks seeing a big return to fashion, "Lost Themes II" will most likely be the pick of the bunch this year. 8/10.

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BOSSK - AUDIO NOIR

Sludge Metal, Post Rock. Deathwish Inc.

There have been plenty of bands now that have mixed Sludge Metal with Post Rock and used Hardcore screaming vocals, ala Neurosis, Isis and Cult of Luna, however this debut album from British band Bossk manages to feel a little fresh. Perhaps closest to the later albums of Isis, Bossk use vocals very sparingly to the point where the album could have easily been instrumental. The first half of the record in particular is in full on Post Rock territory, with lengthy compositions that build up softly and gradually. Lead by lots of clean guitar and atmospheric textures, when the Sludge parts eventually kick in it is so epic and majestic. Towards the end of the record the heaviness comes more frequently, but the way Bossk manage to separate the clean parts and the heavy parts is something wonderful. In a month where we have had a new Mogwai and a new Explosions In the Sky, I'm tempted to say that Bossk have come out on top! 8/10.

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CATE LE BON - CRAB DAY

Art Rock, Alternative. Drag City.

Last year Cate Le Bon released an album with her band Drinks that took in influences of Captain Beefheart, and it feels her latest album "Crab Day" has not only expanded on that sound, but also improved it. The result is a very eclectic mix of songs. The most impressive thing about this album is the vintage recording sound. In particular the vocals channel a young Nico, and the whole album has a very late 60s/early 70s aesthetic. Songs such as the truly wonderful "Wonderful" and "What's Not Mine" combine an arty, Bridget Bardot style quirkiness with jagged guitar lines and free form, stream of consciousness songwriting and vocals that once again channel Beefheart. Cate Le Bon has made an album that is convincingly retro sounding, and yet refreshing at the same time. 7/10.

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PJ HARVEY - THE HOPE SIX DEMOLITION PROJECT

Singer/Songwriter, Alternative Rock. Island Records.

With "White Chalk" and the phenomenally acclaimed "Let England Shake", PJ Harvey managed to prove she could disassociate herself from the rugged, dirty electric guitar music she was so good at, making great softer and folkier songs. 5 years have passed now since "Let England Shake" and sadly I hear absolutely no progression, making me wonder what she has been up to in that time. For a woman who is so good at making every album different, I feel like she is very much repeating herself here. The whole thing feels like "Let England Shake - The B-Sides". To be fair the first track is exactly what we want from PJ Harvey. She manages to implement some electric guitar playing back in, whilst keeping a similar sound to her last outing, but it is downhill from there. Across the album you will hear sounds and melodies that sound like they have blatantly been repeated from songs such as "The Words that Maketh Murder" and "England". Lyrically, there is a lot going on in "The Hope Six Demolition Project", but musically it says very little. 5/10.

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IHSAHN - ARKTIS

Progressive Metal, Black Metal. Candlelight Records

For Ihsahn's 6th solo album away from Emperor, the Norwegian Black Metal legend said he wanted to do something a little more straight forward, as opposed to his avant garde and experimental flourishes of his previous solo efforts. He has certainly achieved this with strong nods towards classic 80s Metal. I can definitely hear some NWOBHM here with more guitar solos and clean vocals than I probably would have liked to hear. Trivium frontman Matt Heafy even does some guest vocals (after Ihsahn guested on their latest album). The most hardcore Black Metal fans may scoff at this album, but his composition skills are still very impressive and ambitious. There is a lot going on in this album and it gets a little disjointed, but there are some very good parts amongst the mess. "Pressure" is the only all out Black Metal track, and a good one at that. "Crooked Red Line" was another huge standout that added saxophone and sounded very similar to "Perdition City" era Ulver. "Arktis" is a bit mad, and a bit all over the place, but long term fans will still find enough here to enjoy. 6/10.

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MODERAT - III

Electronic. Dance. Monkeytown Records.

Remember SBTRKT's second album? No? Neither does anyone. However listening to Moderat III, I almost began to channel some vague memories of it. "III" is an album so incredibly bland, safe and forgettable in every aspect that as soon as it finished I had absolutely no memory of what had just played. There wasn't exactly anything so offensively bad that I had to eject the disc immediately, but in some ways it's actually worse to make an album so bland that there is almost nothing to say about it. 4/4 hipster dance music at its most brain numbing. Listen to The Field's "The Follower" instead. 4/10.

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M83 - JUNK

Synthpop, Electronic. Mute Records.

At first I wasn't really feeling M83's latest record, but there was enough intrigue there to warrant further listens, and the album really ended up growing on me. M83 have made a very different album from their highly acclaimed double album "Hurry Up, We're Dreaming". "Junk" is an album that is clearly inspired by 70s Easy Listening, Jackie Annuals and classic musicals. The spectrum is wide on this album, with fantastic, theatrical and boombastic performances. The subtlety of some of their soundtrack and Ambient Pop works of the past is completely gone here. There are also some nods to Air and Daft Punk's "Random Access Memories". This is Pop music done the right way, and the scope and ambition on this album is something to be admired. Standout track "For the Kids" sounds like Carly Simon covering ABBA. Though there is something very old fashioned and uncool about this album, the songwriting and the way all the songs transition works very well, with excellent production and real belting vocal performances to match. Definitely an album for a more mature audience. 7/10.

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TIM HECKER - LOVE STREAMS

Ambient, Electronic. 4AD Records.

Canadian Ambient composer Tim Hecker's "Love Streams" sonically reminds me of Max Richter's "From Sleep", which was one of 2015's finest albums. Though it isn't quite as minimalist, the use of piano in particular is very reminiscent, and these lengthy tunes capture a similar feeling. Tim Hecker's compositions are much denser though, with Ableton sounding synthesisers punching their way in, some subtle pulsating beats, and like Richter, the use of choral vocals. Whilst all the ingredients are right, and the compositions swell with interesting moods, for some reason the tracks here are rather good, but never quite tip over into being spectacular. Sometimes the combinations of synthetic sounds and natural sounds are battling each other rather than complimenting each other. That said there is still a very pretty album here with many touches of greatness. 7/10.

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MOGWAI - ATOMIC

Ambient, Post Rock. Rock Action.

Mogwai have been very prolific this decade so far with an album almost every year, EPs, a best of and this isn't their first original score with "Les Revenants" already behind them (and a second series score on the way). Considering they already have such an impressive body of work, it feels like it is getting harder and harder for them to come up for something truly spectacular. Though thankfully, their quality hasn't waned either. "Atomic" is a score for a BBC Science documentary directed by Mark Cousins. Mogwai largely trade in their guitars for synthesisers here, but the compositions and moods of these tracks lay in familiar territory. Slow, dark and brooding atmospheres gradually build into more colourful and explosive crescendos. The synthesiser sounds are quite doomy here, yet there are textures that definitely sound like atoms colliding. I have not seen the film, but I can imagine this score will work rather well with it and make it more impressive. Until then, it's quite typical of Mogwai's recent output: Very good, but also very reminiscent of trails they have already walked down. 7/10.

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FUTURE OF THE LEFT - THE PEACE & TRUCE OF
Noise Rock, Post Punk. Prescriptions Records.

Future of the Left are one of those bands who don't really change up their sound very much, yet every time they bring out a new album there is something refreshingly familiar about them. Future of the Left sound like today's answer to Half Man Half Biscuit, but more rugged and noisier. Right off the bat, the guitars scream to life on the oddly titled "If AT&T Drank Tea, What Would BP Do?" (the Biscuit humour is there). Their bassist also has one of the most ridiculously awesome tones as well, full on treble fuzz grooves power through the entire album. The vocals are a haze of distorted rambles and screams. If you've heard Future of the Left previously, it isn't a drastic departure from their other works, but every time you put them on they are just highly enjoyable. 7/10.

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GNOD - MIRROR

Noise Rock, Drone. Rocket Recordings.

Mysterious Salford collective GNOD have a huge discography behind them, but still only hold a cult status. Whilst previous efforts have sounded more in the realms of Psychedelic Rock and Krautrock, "Mirror" is by far their heaviest and filthiest album yet. Built from 3 lengthy droning songs played at an agonisingly slow pace. "Mirror" is an album that builds very slowly and is layered in piercing noise, pounding drums and torturous screaming and rambling vocals. This is an album that will appeal to Metalheads as well as Indie fans and Punks. One of the most dense and anarchic releases of the decade. 8/10.

Click here to read the full in depth review I already wrote.

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WEEZER - WEEZER [THE WHITE ALBUM]

Alternative Rock, Power Pop. Atlantic Records.

Weezer must have really been taking notes when watching Star Wars: The Force Awakens, deciding that if Star Wars can get back on track, then so can Weezer! Whilst they haven't made anything truly terrible since their classic "Pinkerton" album, their attempts at recapturing their former glories have been patchy at best. They have made some good singles ("Keep Fishing", "Dope Nose", "Island In the Sun"), but Rivers Cuomo's magic touch seemed to have faded more and more. Like Star Wars: The Force Awakens, it brings me great pleasure to announce to the world, that the latest album by Weezer IS NOT SHIT!!! They've done it, they've finally made another great record!!! I've heard it about 5 times through just to make sure, and the result makes me want to run to the highest mountain and scream to the world, IT'S NOT SHIIIIIIIT!!!

Over 10 tracks and a concise 35 minutes, Weezer have knocked out a highly consistent album where every song adds something. For the first time since the 90s, Weezer feel like they have found their spark and everything here falls into place. The melodies are gorgeous and catchy, there are some cool riffs and everything just sounds pleasing to the ear. Weezer have really worked on delivering great harmonies here, with some lovely backing vocals. There are some knockout choruses here too. "L.A. Girlz" is a truly beautiful song, with a simple chorus ("L.A. Girlz, please act your age") that will get stuck in your head for days and has the power to get entire crowds singing along at shows. "King of the World" is a great uptempo frat party anthem, and although "Thank God For Girls" squeezes in a little too many lyrics, it too is a great highlight. I feel like there is a very strong Elliott Smith "Figure 8" vibe to this album. The compositions are very rich with touches of piano and the harmonies and melodies are just on point. This is an album that might bring a tear to the eyes of anyone who was a teenager in the 90s. Definitely the best album they have made since "Pinkerton" by a country mile. Rather than sounding like they are trying to repeat what their classic 90s albums did, Weezer just sound very focused and inspired, and every song here just sounds effortlessly great. They certainly do have the wind in their sails! 8/10.

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#316: GNOD - MIRROR

2016
Noise Rock, Drone, Psychedelia
Rocket Recordings

Fellow Salfordians GNOD are an experimental collective who are a sort of mysterious cult act becoming more popular across Manchester. They have already put out many releases, from Krautrock and Psychedelic Rock inspired LPs, to Noise and Drone cassette only experiments. "Mirror" has been released by Rocket Recordings on CD and Vinyl and is more of a canon album from the group, who recorded it at Islington Mill in Salford.

I picked up the CD of "Mirror" that is presented in a blank shiny reflective silver sleeve. My first impression of this album is that it is seriously some heavy shit! Though it is one of those albums that builds in weight and intensity as it goes on. The opening title track is the most relatively tuneful one here. It hangs on a Jah Wobble inspired bassline that repeats throughout the 8 minute duration. It moves quite slowly, but a splattering of scatty psyched out guitar keeps things interesting. The vocals are very interesting, with these washed out demented screams, with lyrics only half decipherable through the reverb. A minimalist dirge that definitely reminds me of early PIL.

After this, things take a tumble down a rabbit hole of gloom, misery and insanity! "Learn to Forgive" is practically Drone Metal, with a filthy fuzz bassline and noisy guitars that scream in agony. The vocalist sounds like Mark E Smith if he had been impaled on a spike and was slowly bleeding to death. Though it is based on the same chords throughout its 8 and a half minutes, the song just builds and builds in density and by the end it becomes so intense and noisy, but in a beautiful way. This track makes me feel like I am being slowly boiled in a giant pan. The use of what sounds like an air raid siren in the background is subtly effective. GNOD sound like they are channelling acts such as Boris, Jesu and Swans here, and the Industrial despair of the derelict ruined buildings on nearby Salford Crescent is captured perfectly. Third track "Sodom & Gomorrah" expands these nightmarish feelings even further. Weighing in at 18 minutes, this song is even slower and heavier. A clanging bassline of Doom will destroy your eardrums. Realising that they can't get away with a repetitive bass hook for too long, this song tends to drift in an out of quieter dark ambient parts. The jangling percussion and ghostly wailing voices give an occult and ritualistic kind of feel, and it is one of my favourite parts of the record, showing a whole other kind of intensity. The fourth and final track is somewhat of an anti-climax. This remix of the opening track by Raikes Parade doesn't really feel necessary and could be considered a bonus track. It isn't really that much different from the track the opened the album. The bass is more pronounced here and there is much more reverb added to the mix. This version of the track kind of reminds me of 90s Ambient Dub Industrialists Scorn.

If you have ever lived in Salford, or a city full of council houses, high rise flats and industrial factories, you will find a kindred spirit with "Mirror". I think it perfectly captures the feel of walking through Salford on a rainy night. The red bricks and the grey skies. But aside from that, GNOD have made a colossal droning album that will give you nightmares. It is very serious, heavy and laced with anarchic lyrics and menacing thoughts. "Mirror" exists somewhere inbetween the Krautrock of Can, the Drone experiments of This Heat and the full on crushing Doom misery of bands like Man Is the Bastard and Conan. The whole album feels like it has been buried in dirt and sewage, and I can see this appealing to fans of Psychedelic Rock, Hardcore Punk and Extreme Metal! Though minimalist and repetitive, "Mirror" speaks many languages. 8/10.