Does any body know some dissonant chords? My guitar playing is heavily influenced by ian mackaye and guy picciotto,if that helps at all.

I'm not familiar with either of the guys you mentioned, but I can throw out some examples I've found musically useful and practical. The most dissonant interval in Western harmony is probably the minor 2nd interval, but other intervals can tweak the ear as well. Some folks refer to these as "clusters"...

This A dominant 7th voicing sounds groovy because it contains both the 3rd and the suspended 4th:

E --5---
B --3---
G --6---
D --5---
A --0---
E --X---

You can also incorporate the "cluster" in the form of a wider interval, such as this Dsus4/F#, which puts the 3rd on bottom and the sus4 on top. This is one of my personal faves, and I use it all the time:

E --3---
B --3---
G --2---
D --0---
A --X---
E --2---

This A major7#11 chord voicing might be used in something like Miles Davis' "Blue In Green", although I think it would be a Bb chord in that particular tune:

E --4---
B --4---
G --6---
D --6---
A --X---
E --5---

This E7#5#9 offers a bit more spice to the ear than the garden variety E7#9 "Hendrix chord":

E --3---
B --3---
G --5---
D --6---
A --7---
E --0---

I might choose this A7#11 to end a jump blues or swing tune with an unresolved vibe that sorta leaves the listener hanging:

E --X---
B --4---
G --4---
D --5---
A --X---
E --5---

Same voicing, different set of strings:

E --11--
B --12--
G --12--
D --X---
A --12--
E --X---

The 13th (major 6th) and the b7 clash beautifully here, and I use this voicing to end tunes in A minor:

E --2---
B --1---
G --0---
D --2---
A --0---
E --X---

For an even darker, more unsettling vibe, I might end a tune with this A minor9/major7, which lends an augmented feel:

E --7---
B --9---
G --9---
D --10--
A --0---
E --X---

This A minor9 voicing is also a personal fave, as it just shimmers. Remove the open 5th string A and it becomes a very different sounding type of C major 7th chord (nice voicing for folks that feel major 7th chords sound too "lounge lizard"):

E --3---
B --1---
G --4---
D --2---
A --0---
E --X---

This E "piano 6th" voicing might be the ultimate cluster chord. Careful, don't hurt yourself, it's a finger stretcher... I believe this voicing was used for the main groove on Madonna's "Like A Virgin", LOL... Flat the 3rd on the 4th string and it becomes a minor 6th:

E --12--
B --14--
G --16--
D --18--
A --X---
E -[0]--

There are tons more of course, but these are a few that come immediately to mind. Any time I want a particularly dark or dissonant voicing, I look at any available open strings that might be in the basic spelling of the chord, or in its upper extensions. Often these are key-specific and not moveable. Also, listen for common tonalities that can be used on top of a chord progression. Example: Try placing the note 'G' on top of this progression - E minor7 - Dsus4 - C - G5 - A minor7 - F add 9 - Dsus4 - G5.

In the early days, a dom. 7th (e.g. A7: 5X565X) was pretty wild as it was seldomly used in classical music and in the 40's beboppers were criticized for their 'dissonant' flat-fifth chords (A7b5: 5X564X). In the early 60's Eric Dophy and others experimented with minor 2nd's in the upper register, which still now most people would consider dissonant (e.g. 5X563X).
So it depends mostly on your 'ears'.

Also, passing chords can be more dissonant than longer lasting chords.

Based on the dominant A7, here are some nice ones for use in blues/rock/funk. Maybe they are known to you already, but anyway..

5-4-5-6-X-X
X-4-5-4-5-X
5-X-5-6-7-(Xor7)
X-7-X-6-8-8
X-12-11-12-13-X
X-10-11-11-10-X

Like Corleone, I'll keep these in A. They're all dominant 7th chords with a #9 and sometimes the 6th.

E --3
B --2
G --5
D --4
A --0
E --x


E --2
B --2
G --5
D --5
A --4
E --x

E --5
B --2
G --5
D --5
A --0
E --x

The b7 and the natural 6th will always give you a good "bite" in a dominant chord, especially when they're a 1/2 step away in the voicing. With major chords try using both the 1 and the natural 7th(maj.7th) together.
Example: Cmaj.7
E --x
B --1
G --4
D --2
A --3
E --x

Cmin/maj7

E --x
B --3
G --4
D --1
A --3
E --X (this is actually a Cmin/maj9)

Sorry for the long post, I could do this all day. Have fun. Have fun.

just invert your fingers, for example:


E
B
G
D 5 3
A 3 to 5
E

Try that chord shape on all strings (especially G and B). Stretch the shape to cover 4 frets, etc., or condense it down to 2...

As far as I know, Fugazi doesn't get to complex with their chords...basically octaves,power chords, and individual note type stuff...then again, I'm not a Fugazi officionado! Hope this helps.

by the way, that 3 is supposed to be over the 5...I've tried to move it but it won't go