{"id":15746,"date":"2026-09-24T11:34:06","date_gmt":"2026-09-24T11:34:06","guid":{"rendered":"https:\/\/culturalleft.org\/cl\/2026\/09\/24\/gilla-band-pugnello-review-furious-originality-fuelled-by-cathartic-aggression-and-absurdist-confessions-culture-the-guardian\/"},"modified":"2026-09-24T11:34:06","modified_gmt":"2026-09-24T11:34:06","slug":"gilla-band-pugnello-review-furious-originality-fuelled-by-cathartic-aggression-and-absurdist-confessions-culture-the-guardian","status":"publish","type":"post","link":"https:\/\/culturalleft.org\/cl\/2026\/09\/24\/gilla-band-pugnello-review-furious-originality-fuelled-by-cathartic-aggression-and-absurdist-confessions-culture-the-guardian\/","title":{"rendered":"Gilla Band: Pugnello review \u2013 furious originality fuelled by cathartic aggression and absurdist confessions Culture | The Guardian"},"content":{"rendered":"

(Rough Trade)<\/strong>
Your favourite band\u2019s favourite band unleash a thrilling and relentless 42 minutes of monstrous noise whose precise instrumental source always remains discomfitingly unclear<\/p>\n

Gilla Band have attracted some impressive plaudits since announcing their fourth album this summer. A feature in Pitchfork<\/a> heralding its arrival described them as \u201cIreland\u2019s most influential band since My Bloody Valentine<\/a>\u201d. Should any readers feel this was a classic example of music journalism hyperbole, it was followed up with a succession of quotes from the Dublin quartet\u2019s musical peers, all eager to attest to their importance, originality and impact. One of them, Selin Macieira-Bo\u015fgelmez \u2013 one half of Brighton-based punk duo Lambrini Girls<\/a> \u2013 went so far as to say precisely the kind of thing about Gilla Band that people said about My Bloody Valentine 35 years ago: \u201cThey basically reinvented guitar music.\u201d<\/p>\n

Under the circumstances, there\u2019s something faintly disappointing about the fact that Pugnello opens with a very prosaic and familiar sound indeed: that of someone striking a power chord on a distorted electric guitar. But then something disconcertingly odd happens. The power chord doesn\u2019t fade away. It just \u2026 keeps going, for the best part of two and half minutes. That grinding drone underpins a track called The Angelus, punctuated by frantic bursts of warp-speed rhythm that would sound like drum\u2019n\u2019bass breakbeats were it not for the fact that they appear to be played live on a drum kit consisting entirely of snares. The drone is eventually replaced by a series of ferocious, shuddering bass explosions, overlaid with a sound that could, theoretically, be feedback, but most evokes a dial-up modem.<\/p>\n

Continue reading…<\/a>\u00a0<\/p>\n

Read More<\/a><\/p>","protected":false},"excerpt":{"rendered":"

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