Nyan....
This is a litterbox
The World is my toilet
Feed me

Komrads is an industrial/post-punk solo project

Dark Music for Dark Times
Wanna collab? Hit my discord: cultchild_
Check out my Friends
https://soundcloud.com/gloomstone
https://soundcloud.com/slippymudman
https://soundcloud.com/systematicdoses
https://soundcloud.com/d1gitalritual

    G.L.O.D. officially began around 1988, which was the year wee termed ‘The Dual Infinite’, around the time of the last great death-rattle of experimental musick that the 80’s is now known for producing. At this time, the main collaborators of the musickal side of GLOD consisted of Frank107 doing vocals and effects manipulations, David Martin manning the samplers,violin and keyboards, and Michael Dead on stick guitar. This early phase consisted mainly of abrasive, tripped-out ‘experimental’ matterial, being that no-one had any musickal notions. The main ambition was to make musick to listen to while ‘under the influence’. A couple of rudimentary home-recorded tapes were put out in absurdly limited editions (23 copies), the first being ‘23V’, the second being ‘The Gold Tape’. It was around this time that Frank, Shelley Soma, and Mike Dead began to put out the self-published booklets, on each solstice and equinox, which later became infamous as ‘Glod propaganda’. At that time SSoma was not yet a musickal co-conspirator, but moved behind the scenes of GLOD proper. As work commenced on the self-titled first LP, which was initially put out as a limited edition on marbelized clear vinyl, then later on CD with additional tracks, GLOD coalesced into a (more or less) coherent sonic endeavor comprised of Frank, David and Mike, with SSoma joining the project as a percussionist and auxillary vocalist. Wolfgang joined late in the production, in time to make it on the CD as a second percussionist for the song ‘Sacriscar’. The first cd was an exploration of sound and texture in a ritualistic format, with not much regard for commerciality or the numerous technical obstacles which confronted us, i.e. the fact that none of us could play, had any musickal ‘talent’, etc. Wee were after the effect, what it produced for us and, consequently, others. And, along with the cover art created by Frank, wee regarded this release largely as a product of art, an extension of our magickal explorations into the sonic domain. At the time wee were accused of ‘vague theorizing’, being purposely obscure- what with the booklets espousing various occult topics and cryptic sigil art, our lack of a clearly delineated ‘message’ amounted to an ambiguity too daunting for some object-oriented readers, listeners, and viewers. The early live performances only served to enhance this reputation, and quickly gained us notoriety as being ‘Satanists’, ‘evil’, etc., probably because these included a full-scale, old fashioned Victorian Black Mass (which was admittedly done tongue-in-cheek), ritualistic drumming performances,and body manipulations,


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