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"FEATURE BAND: No Go Know"

Written by Fense
Wednesday, 04 June 2008

Listening to “Sunday Morning”, there’s a distinct classic rock feel to the guitars and bass lines of No Go Know. But there’s also a notable prog rock influence.

Beyond “Sunday Morning”, the group hones in on the prog rock sound quite a bit more, thus disassociating slightly themselves with that initial classic 70s rock feel. “We Are All Things On Fire” shows that from the soft and morose beginning.

Unlike some prog rock groups, the noise No Go Know meshes heavy vocals into the mix of squealing, drone-y, and atmospheric guitars. They are, by no means, breaking new ground. But that’s OK, because these Portlanders do know how to rock. - Fensepost


"No Go Know, Sleeping is Winning"

No Go Know, Sleeping Is Winning EP

Album Review
By Dan Bolles [01.16.08] - 104 reads
TAGS: albums, music

Nothing irritates a music critic more than an album that is virtually unclassifiable. Though most rock journalists would never admit this, we really love it when music falls into easily identifiable categories. We especially love it when said music sounds a lot like someone else’s stuff — it makes our work infinitely simpler and allows us to spend more time inventing silly genre labels such as “alternative� and “indie.� Or, say, “post-rock.� More on that one in a minute.

With their latest EP, entitled — in delicious slacker-couture fashion — Sleeping Is Winning, Portland, Oregon-by-way-of-Burlington trio No Go Know has crafted a rock critic’s worst nightmare: a bafflingly diverse little collection of tunes that defies categorization and challenges the listener to keep up. It’s a workout, but, as they say: no pain, no gain.

In truth, there’s nothing remotely painful about No Go Know’s second release. To the contrary, each of the five tunes offered here is remarkable for its individual peculiarities, particularly in relation to the others. If that sounds confusing, it is. But in the end, it’s also rewarding.

The EP opens with the sprawling “We Are All Things on Fire,� a nearly seven-minute shoegaze epic likely responsible for the “post-rock� designation by their hometown critics. To be sure, there are definite shades of Tortoise and Mogwai liberally sprinkled throughout. But to stop at that oft-maligned descriptor would do the band a grave disservice.

The following tune, “Sunday Morning� switches gears with Tiptronic smoothness, delivering gritty, reverb-soaked, Southern-flavored rock more in line with My Morning Jacket than Do Make Say Think.

The third cut, “The Garden,� is a bouncy, mid-tempo ballad with the disc’s most intriguing vocal melody. The driving, distorted guitar and trumpet bridge midway through is a nice, and surprising, touch.

“Seven Hungry Miles� starts strong with a punchy guitar line reminiscent of The Black Keys’ punky garage blues courtesy of Scott Taylor. (He and bassist Mike McIntire were founding members of local noise collective User Shorty Patent Co.) Unfortunately, the band stumbles as the song’s second half devolves into a meandering, instrumental, post-rock jam. The change is abrupt and jarring. But it’s just about the only slip-up on the disc.

Closing with “My Prize,� the band bookends the EP with another tune clocking in at close to seven minutes. Moody and ethereal, it could pass as an American Analog Set outtake. Where the preceding song’s proggy jam outro fails, the instrumental tornado occupying the final four minutes of this cut is inventive and engaging. It’s a fitting end to a fine effort. Just don’t ask me what to call it.

http://www.7dvt.com/2008/no-go-know-sleeping-winning-ep - Seven Days (Vermont's Independent Voice)


"Album Review"

No Go Know — No Go Know
Recorded by No Go Know

The assured eponymous debut by Portland trio No Go Know has a restless spirit, manifesting itself in exploratory musical passages, supple rhythms and a disregard for traditional pop song formats. Most of the eight tracks on the album break the four-minute mark, enabling the band, like Built to Spill or Sonic Youth, to stretch itself and head off in unexpected directions.


Sometimes the band indulges in Crazy Horse-like guitar squall, as on the opening song, “Doing the Best I Can,” and the almost epic, nearly ten-minute closer, “Inside Wait,” which also has its moments of psych-rock freak out. No Go Know has an intuitive understanding of dynamics, often starting a song on a more relaxed level before kicking it up a notch and letting the music become big, dense and swirling. Though the band excels at longer, louder songs, No Go Know are also capable of downshifting to quieter moods. “How I Once Stopped” has a lonely, desert-highway-at-night vibe and “We Discovered Water” has a melodic chorus and a more traditional indie-rock groove.
If there’s a fault, it’s that not as much attention seems to be given over to the lyrics or the vocals. The former are somewhat bland and even feel like an afterthought at times, while the latter, though serviceable, are never as distinctive as the music. Occasionally, the songs settle too neatly into a quiet/loud pattern, as on “At Home in the Fire,” and become predictable.


At its best, the album has a quiet tension, an expansive scope, and a subtle interplay between the three musicians. It is a promising first effort — one that finds the band well on its way to forging its own musical identity. (Self-released)

www.nogoknow.com

-Lukas Sherman - PerformerMag.com


"MISH MASH Mandate: Special Delivery"

You just never know what's going to pop up in your inbox, and today's mail brought me this cool little EP from Portland's No Go Know. It's a power punch in 5 parts, each tune a little ball of energy that rips through your speakers.

At times they remind me of Fugazi with their disjointed rhythms and stop-n-go jerkiness, and they use the dynamic variations of loud and quiet to set their musical themes in motion. At the same time, they shake up their sound enough to avoid such easy comparisons, by throwing in gobs of melody reminiscent of the early psychedelic pop era. Great stuff, and I'm glad I checked my mail. - Mishmash Music Reviews


""Time Has Nothing to Do With It""

No Go Know
"Time Has Nothing To Do With It"
The Union
Release Date: July 7
nogoknow.net




AUGUSTA, GA - Unless you’re already a nationally known musical commodity, putting out a double-disc album is risky business to begin with. Rarely does such an effort accomplish the task that it sets out to perform—that is, to fully explore and encompass the breadth and scope of that artist’s musical influences, abilities, and whims. More often than not, double albums tend to fall victim to the trappings of ego and meandering rather than offer up a successful portrayal of an artist’s vision.

There is, after all, a fine line (especially in the musical sense) between a collage and a portrait, and while “Time Has Nothing To Do With It” doesn’t find Oregon’s No Go Know in danger of slipping into overlong mediocrity, the band rarely sounds as on-point as certain grander moments suggest. An example of such excellence, “My Black Dog,” is one of the more exceptional openers in recent memory, with a riff-and-tambourine combo that takes the Stones’ back-porch electric blues and gives it a loping, lazy psychedelic treatment.

The band is undoubtedly at their best when riding the psych-train, so while it’s unfortunate that “Thicket of Thieves” sets off a somewhat aimless first disc, “End of a Stay” saves the day, and from a haze thicker than even Hawkwind ever imagined at that. Likewise, by the time the second disc rolls around, stuff like the sinister “Life is Forever for Everyone” and the ballad-turned-freakout “Some Say Others” will mostly kill any sour taste that the majority of the first disc might have left.

If No Go Know had taken “My Black Dog,” and “End of a Stay,” and merged it with the second disc, “Time Has Nothing To Do With It” would hover around perfection. As it presently sits, the wandering muse has overtaken the vision…but just barely.
- Metro Spirit, Josh Ruffin


"No Go Know-Time Has Nothing to Do With It Review"

The Union Records

No Go Know – Time Has Nothing To Do With It
Review by Mike Bax

Let it be said that I’ve heard some pretty average albums in the past few years – unknown bands trying their best to make something, ANYTHING out of a few of their pop tunes and a tank of gas. So when a double album (two CDs worth) of music hits my mailbox by an unknown band like No Go Know, I just assumed I’d be listening to twice as much mediocrity.

Listen up people… while everyone is waxing on about the Kings of Leon and My Morning Jacket being the bee’s knees, I’d put it out there that No Go Know just might be a band that should grace your iPod as well. Over the past few weeks I’ve grown from mildly impressed to full on admiration of this superb double album of original material.

After a light and elegant intro song, Disc 1 kicks in with ‘My Black Dog’ and never looks back. It’a a lyrical gem of a song, rife with thundering guitars and harmonizing vocals. Listeners can prepare themselves for some blues, indie, space-rock and sheer ambience before Time Has Nothing To Do With It plays itself through. The crazy thing is it all meshes and folds back in on itself as the second disc closes up with an outro reminiscent of where the musical journey that is No Go Know started off.

No Go Know should really be on the top of the college charts at the moment. The band are currently touring through the USA. Make a point of popping out to a live show and actually see something in the making whydontcha? - Fazer Music Magazine


"No Go Know Fills the Void"

No Go Know fills the void
MATT DALLEY
Arbiter Journalist
Issue date: 4/16/09 Section: Culture

Fans of grungy, indie rock often turn to Boise-based Built to Spill to get their underground fix. Since the band hasn't released a full album in four years, some devotees have had to look elsewhere for new, catchy guitar leads.

Luckily, Portland, Ore.'s No Go Know provides a fresh and accessible sound that will appeal to the fanbase of Boise's biggest band. This July, No Go Know will release an ambitious double disc on Union Records titled "Time Has Nothing To Do With It."

Throughout the songwriting process for the latest album, the band made a point to stay away from a specific sound or genre. This led to an album that shifts directions frequently, encompassing everything from gentle ballads to long, spacey jams.

These spacey jams are a strong point of the trio that get pushed to the forefront during live performances. Every show the band plays opens with some sort of an improvised piece. These jams often include what guitarist Scott Taylor describes as a "guitar freak-out." Judging from the array of effects the guitarist uses, listeners should expect nothing less. Fortunately for fans unable to catch a show, "guitar freak-outs" play a major role on "Time Has Nothing To Do With It."

One song that exemplifies the cosmic aspect of No Go Know is the second song on the album, "My Black Dog." As the track begins careening toward its climax, bassist Mark McIntire and drummer Sam Smith steadily build the intensity of the song by incorporating swift, but appropriate, fills. Taylor takes the opportunity to lay down more than two minutes of overdubbed riffing that is everything a psychedelic guitar solo should be.

In contrast, the release contains multiple tracks that are either acoustic based or generally more tranquil. Rather than brisk, in-your-face guitar solos, vocal harmonies and relaxed instrumental parts are given the foreground.

The band is heavily influenced by Built to Spill and therefore claims to feel a special connection to Idaho's capital. No Go Know played the Neurolux more than a year ago and plans to make a return trip to Boise this summer. - Arbiter


"No Go Know"

No Go Know
Meghan Vogel For the Times-Standard
Posted: 03/26/2009

I no know how to describe No Go Know, and it seems no one really does -- not even the band.

”People may say we sound like eight different bands, and even from song to song our sound changes,” said Scott Taylor, the Portland-based band's guitarist and vocalist. “It's difficult to categorize us, even for ourselves. I think when you listen to a piece of art you want to automatically categorize it really quickly as a way to understand it, but we have a hard time being grouped with anything besides 'rock.'”

No Go Know, which a tongue-in-cheek Taylor finally pinned down as “dill rock,” a phrase, he said, that roughly translates into “guitarded,” takes its name from a Fela Kuti song.

”Fela was great,” Taylor said. “He was like the Nigerian James Brown. He had his 30 wives up there as back-up singers and was out there dancing in this little blue Speedo.”

Fela, guitarded, dill rock, and what's this I hear about Taylor being a big Phish fan back in the day? Yeah, these guys are all over the place.

”Just say we're like Queensryche, but better. We're like the indie-Queensryche,” said Taylor, who uses something called a “chaos pad” when playing guitar, a specially constructed wooden box housing a ridiculous number of pedals.

Despite Taylor's penchant for nonsensical Dylan-esque evasions, it's evident No Go Know knows their stuff. Hiding behind the dill rock,the occasional over-the-top guitar freakout and the interesting choices in time changes, lies a musical prowess lacking in many other bands. Perhaps, however, this works to No Go Know's detriment. Maybe the music world just isn't ready for a band that can master all styles and then throw them back into your face, a swirled conglomerate of sound? No Go Know can build layer upon layer of distortion, ride out a trippy space jam and then switch back to stripped down familiar indie-pop territory all within one song.

A three-piece, Taylor's partners-in-crime are Mark McIntire on bass and Sam Smith on drums. Taylor, the band's lyricist, was a double major in creative writing and music at Goddard College (yes, the place that spawned Phish), while McIntire plays in three other Portland bands, the bluegrass/Americana Velveteen Habit and The Sodbusters, and the folk-indie-pop Gratitillium. Smith spends free musical time working on his own stuff as a veritable one-man band playing and recording instruments one by one and then constructing songs. Other free time is spent on his visual artwork, and you can see Smith's photography on the packaging for No Go Know's latest album “Time Has Nothing To Do With It,” which is set for wide release in July.

”Time Has Nothing To Do With It” lived up to its name in the recording process. The band's third release, and an ambitious double album featuring 18 songs, much of the original recorded music was lost last summer when their studio engineer's hard drive crashed losing all of the original vocal and guitar overdubs in the process. Re-recording everything was a slow and painful process.

”We originally recorded everything by tracking live, with all of us in the same room,” Taylor said. “Wearing headphones while recording just doesn't feel natural, and we need to be playing together, looking at each other, feeding off of each other to either speed up or slow down. When I went back in to re-record the vocals and overdubs I was really afraid of losing that essence you capture when you just play instinctively. I didn't want things to be over thought or overly contrived, but then I read an article about Built To Spill's 'Perfect From Now On,' which is one of my favorite albums, and about how it had to be recorded three times. I then realized that it wasn't horrible that we lost everything, and if I was going to freak out, I'd really freak out and make it perfect.”

So, Taylor spent most of the fall listening to all 18 songs, taking notes, and working with Adam Pike at The Toadhouse Studio to get everything just right.

”We remixed and remixed and remixed,” he said. “I think we eventually remixed about six times. I'd take the album home and sit with it for a week and hear, like, eight things that needed to be fixed. I took time to get there, and nobody thought I'd ever really finish it, sometimes not even me. But then it was finally done right after the New Year.”

While aspiring musicologists and rock connoisseurs are certain to warm up to No Go Know's inspired eccentricities, Taylor remains humble.

”I'm really not good at playing guitar,” he said. “So, I just rip off stuff I like. Every song is a rip off, and I rip off everyone. I just steal the parts of songs that I like, learn how to play them, and then put them altogether. I can sit through the album and go through it song by song and say, 'Oh yeah. That part was when I was listening to a lot of Wilco, that part's Spoon, Radiohead, Sigur Ros.' My Morning Jacket's in there, and there's definitely some Pink Floyd. Just say we sound like cool stuff -- everything that's cool, yup, that's what we sound like. We're a good-time band! People, party band!”

Actually, one song off the new album is indeed a “people, party band” song, the feel good disco groove of “Yours is a Small, Still Voice.”

”That was my attempt at The Black Keys or Modest Mouse,” Taylor said. “It's more bouncy and jumpy. I tried to back out of our minor chord slightly depressive sound to have something people can dance to. But then, midway through the song it switches to minor chords. I guess we can't stay away from that.”

Currently on a West Coast tour, No Go Know plays at the Knitting Factory in Los Angeles and then hits Reno before making their way back north to Eureka. Taylor fondly recalled their last show in Eureka in August, and said they're looking forward to swinging back through town as sometimes smaller, more intimate venues are preferable.

”We had a great time when we played here last,” Taylor said. “Sometimes smaller shows where people really get into are the best. One of the best shows we ever played was a house show in Olympia for all these hippies who were dancing and doing yoga poses the whole time. It was fantastic.”

While the band has been playing a few songs off “Time Has Nothing To Do With It,” it remains to be seen how well the songs will go over on this tour.

”Only a handful of people have heard the new album, and either they really, really, really like it or else there's no response,” Taylor said. “They either like it because it is all over the place or they don't like it for that same reason. There's a lot to deal with on first listen because of its schizophrenic nature. Every song is different from the last, which might be difficult. It's certainly eclectic. And it's definitely all over the map stylistically.”

Navigate that map for yourself by picking up “Time Has Nothing To Do With It” through No Go Know's label's website at www.theunionrecords.net, where a limited number of presale copies are on sale. More info, along with photos of No Go Know's “extra members,” a unicorn piñata and a life-size cardboard man named “Mr. Pat,” can be found at www.myspace.com/nogoknow.

No Go Know plays with The Zygoats and Paranaut at the Li'l Red Lion, at Fifth and Q streets., in Eureka on Saturday. Doors open at 9 p.m. $5.

Meghan Vogel laughed so hard during the No Go Know interview, Scott Taylor had to stop and ask, “What's wrong with you?!” She'll answer that question if you e-mail her at megmvogel@gmail.com. - Times Standard


"The Art of Going Big (West Coast Performer Cover/Feature)"

“You don’t skip your chance to make a double album if you have it,” says Scott Taylor, guitarist and lead singer for Portland, Ore.-based group, No Go Know,
who have indeed just released a double album.

Though it is a symbol of overblown rock ‘n’ roll excess from the ‘70s – the sign of egos fueled by coke that punk hoped to stab through its drum solo-choked heart – for
No Go Know, however, Time Has Nothing to Do with It is their best album yet, and it just may be
their breakthrough.

Recently, high-profile bands like Radiohead and Okkervil River have
had the material to release double albums, but backed away from the
idea. “I’m glad those albums (Kid A/Amnesiac and The Stage Names/The Stand Ins, respectively) are single albums, personally,” says Taylor. “But
at the same time, if the material is there and you feel like it’s thematically threaded together, why break it up? I realize it’s a lot of music and probably too much for one sitting – but that’s why there are two discs. I don’t expect anyone to listen to both albums back-to-back, Lord knows I don’t do that with the double albums I own, but we had a large number of songs that we felt were strong enough to warrant being released. Sure, it’s over the top, but so is our music and rock ‘n’ roll in general. Why not celebrate that?
Plus, lyrically I had a hard time separating the songs from each other.”

No Go Know is from Portland, but its roots lie in Vermont. The band,
in fact, has a close relationship with Vermont’s own Grace Potter and the Nocturnals, a group about as traditional and roots-based as No Go Know is experimental. Taylor has been a confidant of Nocturnals’ guitarist Scott Tournet since they met at Goddard College in 1999. In 2004, Taylor recruited Tournet’s band to help record an album as User Shorty Patent
Company. For the recording of their wildly spacey album, Depart So Slow, Grace Potter started her relationship with the Hammond B3 organ, which has now become an instrument she is heavily identified with. It was also one of the first times the Nocturnals got to rock out. “With User Shorty, I was in my first bona fide rock ‘n’ roll band,” says Nocturnals drummer Matt Burr. After having the Nocturnals play with him around town, Taylor was able to put together a band of his own with Mark McIntire on bass. In 2005,
User Shorty was retired as Taylor decided to move to Portland to play with his friend Sam Smith, who had played drums with Taylor in earlier bands. McIntire moved to Portland also, and No Go Know was formed.

Their eponymous debut album was recorded in Taylor and Smith’s
basement, live with no overdubs, as was Depart So Slow (Neil Young is a big influence on these guys, in methods and in sound). The album shows No Go Know’s complexity was there from the start. In that basement in Portland, they created a new way of reaching the big-rock peak. Songs shift tempos
suddenly, rhythms are complex and sometimes inspired by African music (their name comes from a Fela Kuti song), and they eschew typical rock chord progressions. There are a lot of guitar solos, sure (nothing wrong with that), but they are very unconventional. Instead of emphasizing dexterity and speed, Scott Taylor’s guitar playing blends classic rock riffs,
Wilco-esque experimentation and washes of sound. “I think that comes from me not being a very good guitarist or at least not a very confident guitarist,” Taylor says. “This is the first band that I’ve been ‘allowed’ to solo in. At the same time, because we’re a three-piece, I need to find ways to solo that don’t allow for too much volume/energy drop. I don’t
have time or space to noodle around – I’ve got to go right for the neck each time, hence the abundance of uni-bends and generally noisy guitar playing.”

No Go Know’s material develops organically among the three members. “Most of the songs have come from Scott bringing in an idea – a set of chords, or a few riffs, or sometimes a whole song structure,” says Sam Smith, “which we then play around with as a band and flesh out, oftentimes
doing a lot of rearranging, trying it a bunch of different ways until we
really like it. Other songs will sort of come out of practice sessions, out of some jam or riff that someone happens to play and we’ll just come up with different parts as we go.”

When the time came to plan out the new album, Taylor sat at a bar and wrote out the songs that were ready to be recorded on a napkin and realized they had enough for a double album. “At first it was kind of funny,” says
Smith, “but then it was like, ‘Well, why not?’ There was definitely a point where I had to question whether or not it was the right move, and I actually came up with a sequence for a single album to see if it would work, because
I didn’t want to put out a double album simply because we liked the idea of putting out a double album. I wanted it to be because we considered all the options and felt like it was the best one. We put a lot of time into trying to
make the discs balanced, and to achieve a sense of consistency throughout, and if I didn’t feel that it had that balance and consistency, I definitely would
have pushed for the single disc.”

“A lot of double albums are a bit bulky and overblown, but that’s the
nature of the double album,” says Taylor. “We embraced that and went for it.” Time Has Nothing to Do with It currently stands as No Go Know’s four-minute mile, an achievement that will be hard to surpass and a standard by which other bands can measure their work. It takes a lot of confidence to put a song like “My Black Dog” second on your double album.
The track is one chord, over and over, a brief chorus and a feedback breakdown in the middle. But it’s catchy as hell. “Our Bodies Will Float,” a gorgeous song that features amazing harmony parts from McIntire, shows a new flair for tension and restraint for the band (“We’re getting better at that,” says Taylor).

As for how the songs are connected thematically, the album deals with endings – endings of relationships and endings of civilizations (inspired by Taylor’s life and Derrick Jensen’s Endgame, a book about humans’ destruction
of the Earth). “There’s a lot of images that carry over from song to song and a lot of self-referencing,” Taylor says. “Personally, I dig that kind of thing
in the work of people like Neil Young and Jason Molina [who goes by Songs: Ohia]. Once I realized we were making a double album, I ran with it – though I’m not so sure it’s translated to anyone who doesn’t live inside my brain. I was having a lot of nightmares and not sleeping well in the months that this album was incubating, so dreams and the seasons themselves were highly
influential.” It’s a heavy ride and one full of questions without absolutes.

Musically, all the parts fit – the jamming and the structure, the Built to Spill sectional songwriting and Crazy Horse simplicity, the focus on melody and emphasis on rhythm, the bigness, the heart and the post-millennial, ecoapocalypse
existential blues.

And as for those peaks, Taylor says, “We all-too-often go right for the huge peak instead of letting it arrive a little more naturally. And that’s not necessarily a bad thing – it’s just that we all get excited about what’s happening with the music and where it’s going. Perhaps we should play with robots.”
--Warren McQuiston - Performer Magazine (Jan 2010 http://www.performermag.com/pdf/WestCoastPerformerJan10.pdf)


"Time Has Nothing To Do With It review"

No Go Know – Time Has Nothing To Do With It (Union)

Well, Sir, at two discs and eight seven minutes, I’d say time has everything to... sorry, suddenly thought I was some pithy broadsheet reviewer. My apologies, dear reader.

Anyway, No Go Know, any good? Yes, as it goes, they’re... well, let me explain.

No Go Know have taken it upon themselves to record a double album and, by the fact that disc one starts with the same song disc two ends with and vice versa, you get the strangest feeling that this is a (sshhh) concept album. What’s the concept? Hmm, well, possibly it’s a matter of scale, how three people can draw your attention to the most delicate pin drop, as well as play like a musician of the year competition gone to riot, but then that’s possibly a bit too conceptual.
Forgetting the concept for a moment, I’ve long since been a Akron/Family advocate, forcing people recently to buy Set ‘Em Wild, Set ‘Em Free at gunpoint. I can honestly say that Time Has Nothing to Do with It gives the Family a run for their money at every turn.
I actually stopped reviewing for a while because I was sick of being the ‘it’s all a load of shit’ guy. It’s not a load of shit, please believe me.

I’m listening to the album now and it’s hard to concentrate on what I want to say. I’m listening.

Yes, it’s classic rock with punk edge and contemporary blah, blah, blah, let’s leave that to metacritic. Just stop what you’re doing, stop reading this and only return once you’ve got this album (download it from nogoknow.com) and listened to it all.

Back? Yeah? I know, I know, me too. So, what is the concept?
I think I know. No really, I do. The concept is that bands can still and should still reach beyond the ceiling, beyond the sky, even. An album should sound like it’s struggling to stay on the disc, as though it might crack and breakout, bursting from its cell. Maybe the concept is if you give everything you have people will love you and, hopefully as this is the obvious next step, renounce all those pale, make do, fly by night acts that operate as mere lifeboats to keep afloat a failing music industry. To hell with the concept. Let’s just bask in what must be contender for album of the year.
--Sean Gregson - Tasty Fanzine (http://www.tastyfanzine.org.uk/albums92nov09.htm#NoGoKnow)


Discography

No Go Know (self titled) - 2006
Sleeping is Winning (EP) - 2007
Time Has Nothing to Do With It - July 14, 2009

Photos

Bio

No Go Know is an energetic and progressive rock trio who combine fluid songwriting with bold musical exploration to produce a unique brand of sonic assault.

Floating seamlessly from loose ambience, jarring guitar solos, and boundless space rock, the trio have laid claim to a dynamic sound all their own.

Formed in Portland, Oregon in 2005, the trio have played together over the last ten years and credit their textured space rock sound to live improvisation.

Currently being played on radio stations throughout the US and internationally, No Go Know has recently been featured on the cover of West Coast Performer Magazine as well as the Magnet Magazine CD Sampler.