Gnod

Chronicles Of Gnowt Vol.1

The first in a planned trilogy sees Gnod expand into uncharted territory while still remaining, unmistakably, Gnod

Chronicles of Gnowt (Vol 1) by Gnod

The volumes of music referenced in the title of Gnod’s latest dispatch are slated to total three, all of them drawn from just shy of a week in the studio. In many ways, this Salford-originated experimental group are different – in personnel, setup, lifestyle – from their beginnings, two decades ago this year, but by no means comprehensively so, and this sort of nose-to-tail approach to serving up their recording sessions is reminiscent of when there’d be a new Gnod release practically every other month.

Moreover, on the evidence of Chronicles Of Gnowt Vol.1 there’s no…

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Noel Gardner detects plenty of dub at the core of this month’s New Weird Britain selections, from bareknuckle nightmare fuel techno to gloopy audio microdramas

Zara

Overarching themes don’t tend to be a facet of these columns, because the New Weird British music in them is loosely tied together, and so am I. Even so, some months certain motifs reappear in the selected releases to the point where it feels like the subconscious is trying to say something. In the first NWB of 2026 it was improvisation and in this, the second, it’s dub – a technique / aesthetic / culture which, like improv, is embedded in more music than anyone realises, including the given artists.

No question that John Howes, a Mancunian…

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Nine Inch Noize

Nine Inch Noize

Nine Inch Nails team up with German-Iranian DJ Boyz Noize for an album of festival thumpers and pulse-rate pumpers

Nine Inch Nails are no stranger to dark industrial music, experimentalism, and the tricky graft to situate these genres within an ever-flippant popular culture. But on their latest project, Coachellaphane-wrapped supergroup called Nine Inch Noize, which features German-Iranian DJ Boyz Noize and Mariqueen Mandig, it’s hard to tell if Trent Reznor and Attitcus Ross have misjudged it all a bit, giving into the consumerism that their music has always managed to mediate.

Nine Inch Nails have always been a revolving door in spirit and have invariably managed to cover lots of musical ground without ever spreading themselves too thin….

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The Banshees claimed they weren’t goth; but in 1986 that didn’t stop them from saving a genre from itself and drawing a blueprint for future generations of musicians to pore over, says Wesley Doyle

“Someone asked me how it felt to be the Queen of Goth,” Siouxsie Sioux told The Guardian back in 2005. “I said, ‘That’s rather like being known as the Prince Regent of Fools.’” Just so we’re clear, Siouxsie and the Banshees have never considered themselves a goth band. Ever. “Gothic in its purest sense is actually a very powerful, twisted genre,” Sioux again to Mark Paytress in 2003, “But the way it was being used by journalists – goff with a double f – always seemed to…

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Graham Dunning

Quern

In a digitally-mediated age, the London-based artist and improviser embraces the physicality of stuff – in all their wobbliness and instability

Quern by Graham Dunning

Graham Dunning has been utilising stacks of turntables, electric motors, automatic contraptions, and found objects to create music since at least 2008. However, the time of the London-based musician’s concept of mechanical techno might only now be truly upon us. As recent articles and social media chatter suggest, the pixel-born members of Gen Z are increasingly looking to exit digital hellscapes, rediscovering physical interfaces and material artefacts in the hope of anchoring themselves in reality. Dunning’s stupendously imperfect dance cuts and analogue subversions of electronic music, which once fought so hard to be digitised, might show…

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The Cornish filmmaker guides Luke Turner through the music that inspires his own soundtrack and scoring work, from the revelation of first encounters with Derek Jarman to the technicality of dub

Mark Jenkin by Steve Tanner

Although much is said about Mark Jenkin’s use of old Bolex 16mm cameras, the film from which he processes by hand, a similarly DIY approach to sound and music have arguably played as significant a role in creating the both tough and uncanny interpretation of Cornwall in which his films are set. The magnificent Rose Of Nevada, released this month, combines the social themes of the local fishing industry’s decline explored in Bait with the eeriness of second film Enys Men, as a boat appears to be dragged…

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Abigail Snail capture lightning in a bottle and Rad Berms is one of the best debut albums you will hear this year. Cal Cashin speaks to Stef Kett and Will Glaser. Photographs by Alex Bonney

Rad Berms by Abigail Snail

They may have chosen to name themselves after an entirely different denizen of the garden, but it is the zigging and zagging of a pair of butterflies that the vital new free rock duo Abigail Snail evoke so emphatically. Their debut album Rad Berms is all manic elegance and fluttering interplay – an antsy, frantic dialogue between two master musicians. They flit, they flutter; there is no slithering crawl here. Theirs is an adventurous take on the rock duo dynamic that stands opposed…

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Naná Rizinni

Epiblast

Combining her Brazilian roots with the sound of London’s progressive electronic jazz scene, the São Paulo drummer and bandleader finds a bracingly original sound of her own

Epiblast by Naná Rizinni

In biology, the epiblast is a precarious but infinitely powerful thing. It is the primordial embryonic layer from which an entire organism ultimately develops, a microscopic cluster of cells holding both profound fragility and limitless, expansive potential. It is a fitting, almost devastatingly accurate title for the new album from Naná Rizinni, an artist who has spent the last few years tearing down her own life and rebuilding it from the cellular level up.

Slated to release via Bridge The Gap, Epiblast is the sound of geographical displacement, overwhelming grief, and…

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From Goethe to Novalis, nineteenth-century novels about artists offered stories about self-invention and self-discovery, but what happens to the artist-protagonist in an age where no-one any longer feels in control of their own destiny? Gabrielle Sicam looks to recent books by Anika Jade Levy, Brandon Taylor and Stephanie Wambugu

Photo by Juan Martin Lopez

What does the künstlerroman look like today? Flat Earth by Anika Jade Levy, Minor Black Figures by Brandon Taylor, and Lonely Crowds by Stephanie Wambugu are three recent novels that all seek to depict a version of the artist’s life. Today’s künstlerromane touch on all of the neuroses, desires and individualistic tendencies of the genre’s Romantic origins. Their whistle-stop tours through the artistic elite via young-and-hungry protagonists might…

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The European Court of Justice ruled in favour of producer Moses Pelham who used a brief drum loop from one of the Germans’ tracks

Kraftwerk have lost a decades-long copyright dispute with the producer Moses Pelham.

The case revolved around a two-second drum loop from the group’s 1977 track ‘Metall auf Metall’, which Pelham sampled for Sabrina Setlur’s 1997 single ‘Nur mir’ without permission. Kraftwerk subsequently took legal action over the matter in a case that has lasted almost three decades.

The European Court of Justice ruled in favour of Pelham earlier this week, as Loop Rituals reports, deciding that use of the brief sample is lawful under the “pastiche” loophole in European Union copyright law. Under this exception, work that calls to…

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