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Chapel Perilous exists whereby the supernatural converges with the everyday - whatever one’s definition of reality, this psychological realm serves to prove it endlessly subjective and changeable. Robert Anton Wilson may have laid claim to the modern use of this phrase -as in his 1977 tome Cosmic Trigger -yet there can be few musical outfits in the here and now more worthy of carrying on its tradition than Gnod. In more than a decade on the planet this singular Salford-birthed entity have married intrepid musical exploration with psychic fearlessness - not to mention a tendency to leave any tag or bracket one attempts to place on the mutterly redundant.In a sense, the latest adventure bearing this title evolved both from the lengthy European tour that the band embarked upon in the wake of their stripped-down and paint-stripping 2017 opus Just Say No The Psycho Right-Wing Capitalist Fascist Industrial Death Machine. Yet recording in Supernova studio in Eindhoven under the auspices of Bob De Wit, the band found themselves free not only to lay down two tumultuous tracks that they had been honing and hammering into shape on the road -the pulverising fifteen-minute opener Donovan’s Daughters and the bracingly brutal Uncle Frank Says Turn It Down - but to sculpt more abstract material, utilising dubbed-outrepetition, furious riff-driven rancour, bleak soundscapes and off-the-map experimentation to create an intimidating and invigorating tableau of dystopian dread and unflinching intensity.Always working purely on their own instincts and co-ordinates, Gnod’s pathway into unchartered territory continues to move firmly on with nary a care for the sanity of anyone in their surroundings. Chapel Perilous is a still more indomitable chapter in a transcendental travelogue from an iconoclastic institution that only gathers momentum with the passing of time.Wherever Gnod go in 2018 and beyond, expect reality to be reinvented anew, whatever the consequences.
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