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 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, body manipulations, and maybe even a blood sacrifice thrown in for good measure. Though much of this may not seem extreme to the post-eMptv world because it has caught on and become trendy, at that time it was still fringe, and wee wanted to expose people to our convoluted reality. The musicianship and sound quality was lacking in those early days, but the intent and the atmosphere was abundant, as the musick was pressuring us to give it a vehicle, a chance to come forth from oblivion. After the release of the first CD, Mike Dead departed the band on friendly terms, choosing to persue his own path outside of GLOD. In between the two CD's, the band went through numerous changes. Wee upgraded our home studio equipment, giving our sound a much-needed technical facelift and a chance to breathe. Wolfgang became a full-time member. Wee produced a video titled 'A Private Release' (a bit of a pun) along with videographer Mark Hejnar, which was a sort of documentary to the events which centered around the making of the first CD. The video has finally seen daylight in August 1996, premiering at the Chicago Underground Film Fest on Hejnar's video compilation titled 'Affliction'. Wee were also busy playing some live dates around the US during 94 & 95, including some in the Midwest with Ordo Equitum Solis, while simultaneously working on the second CD 'Gnosis'. GLOD began building a reputation for closing down clubs, though this was through kno-design on our part. Some of the venues wee performed at would just mysteriously shut down after wee played there, and never re-open, through misfortune, synchronicity, or maybee simply 'bad vibes' (?). Consequently, people began asking us to play at one-time special events, such as the time a local S&M shop was moving to a new locale and asked us to play at their old location to close it down in the proper decadent style. With work on the new CD underway, GLOD signed on with the Italian label Musica Maxima Magnetica, which also re-released the first CD in Europe. On 'Gnosis' wee incorporated other collaborators for the first time. Wee worked with an excellent guitarist, Dreike, for 'Black Song...', which was our first foray into SSoma's own vocal style, juxtaposed with Frank 107's aggressive chants. Frank delved deeper into the intricacies of production and mixing for this release, thereby defining and solidifying our pieces. Wee also worked with Mike Dead's guitar noise again on some tracks, Wolfgang shifted from drums to bass guitar, and wee gained a new drummer, Xian, of the Detroit percussive band Batterie Acid. Xian has since become a full time member and is now integral to the dual percussive force driving our sound. On the visual side of things, Frank and SSoma produced the cover artwork and text for 'Gnosis'. For this release GLOD became G.L.O.D., an incarnation wee had previously been using for live shows. It is an acronym for the admittedly rather sensationalist moniker 'God Loves Over Dose', but this could change to any other set of befitting words, as the manifestation of the moment fluctuates. 'Gnosis', as the name implies, is a more coherent elaboration of the gnostic state wee were exploring with the first release. 'Gnosis' seems to be a little more accessible, more aggressive, more stylized and fluid, but still not truly representative of the current G.L.O.D. current, as much of it was recorded between 1992-94. Wee have had an enthusiastic reception of this release so far, but only amongst the underground, as wee still do not fall into any easily definable category (yes, that's what they all say!). Wee are currently featured on Music From The Empty Quarter's excellent cd comp 'Magnetic Submission', on the new Charnel release 'Arrhythmia III', and on an upcoming magazine/cd comp for the German magazine 'Gothic'. Many changes have been afoot in 96, as wee are hard at work on our third CD. Our bass player Wolfgang has gone on to sequester himself in the American desert, and has been replaced by Keith of Faceless Productions. The third CD will include several new songs, as well as updated live renditions of some of our older matterial. Look for this release in early 97. Now for the side projects! You'll bee hearing rumblings from Destroit and Gloss. Destroit involves Frank107, Xian, and David M. of G.L.O.D. along with the percussion section from Batterie Acid. Gloss involves Shelley Soma, Frank, David, and Keith. It is the dark dance-oriented side project fronted by SSoma. Wee term it 'damaged dance' and 'trip pop'. Wee are looking for a label at present, and if Mercury (the god, not the label) smiles on us, you can hear the results of this project, also sometime in 97. This release is tenatively called 'Gloss'. The barebones history of G.L.O.D. in a soundbyte.