Necro – 1983 / Bob Marley & Augustus Pablo – Daddy Kool Records -1979 / Webcore – A Real Kavoom – 1986 / Brigandage – Hammersmith Clarendon – 1984 / Savage Republic – I.P.R – 1982 / Tribesman – Label Records – 1978

Necro 1983

I’m really chuffed that Tim, the old drummer of Necro, found an old C90 cassette tape and a clutch of photographs in a box in his house sometime ago… To me, this stuff is gold dust! A crystal clear recording of the band playing the ‘slower’ three piece line up set without interruption, on the cheapest instruments and amps possible!

Necro were a local band to me that were formed at the dawn of 1982, a band that my younger brother joined towards the end of 1982 (or the dawn of 1983). Rob was firstly Necro’s bassist in the four piece line up, and then, a few months later, ended up as the guitarist in the three piece line up.

The ‘slower’ detail mentioned above is (I think) in part, to Steve the vocalist of Necro taking over bass guitar duties as well as singing.

The four piece Necro line ups recordings that I have here (but not uploaded anywhere yet) have songs that are faster paced possibly due to Steve not having to concentrate on hitting the right notes and getting his lyrics right at the same time. Steve could throw himself around a bit with far some freedom when three of the four piece line ups were making a racket behind him, and therefore the songs seemed (and were) faster! This is a rough and ready practice session that was taped around Tim’s parents home in Hertford, and is absolutely WONDERFUL.

Myself and my brother travelled from Hoddesdon, a town on the East Herts / Essex border so we ‘commuted’ to Hertford on these occasions!

For a much more in-depth history please consult this wonderful KYPP post HERE

It is well worth a read…

Tim also found a few photographs which I have scanned and placed onto this post.

Two graffiti photographs, one of the photographs, showing Flux Of Pink Indians inspired graffiti, that was sprayed onto a council building in 1983, and remained there for decades, finally succumbing to dust when the whole place was demolished a few years ago!

There is a photograph of the short lived ‘Rob era’ four piece, and three photographs of the better (in my opinion) three piece line up… I am captured on one of these photographs standing behind the amps at a gig somewhere, in-between my brother playing guitar and the bassist / vocalist. Some other herberts are also sitting around the back of the amps with a splendid rainbow effect livening up the place, whatever place that was!

There is also a photograph of Steve, the bassist / vocalist with some more graffiti that reads ‘LPYS (Labour Party Young Socialists) are biggest working class rip off’.

So now you know!

Following that, there is a photograph of myself with the white jeans and my younger brother on a cannon taken in 1982 by the sea somewhere or other…

The fanzine ‘War Is Over’ which is featured on the slide show was the first issue.

Tim put it together and we tried hard to punt them out to the disinterested public, although members of other local bands and various youth C.N.D members were a little more interested.

Tim put together another issue of the fanzine which has now been lost in time, although if a copy turns up I will do something with it. This second and last issue contained news and interviews on Conflict / Crass / Flux and a local band from Harlow, The Newtown Neurotics.

The ‘letter of the week’ which also features on the slideshow is from Sounds weekly music newspaper, written and sent in by Tim in the summer of 1983 and was concerning a Conflict gig in Hoddesdon that was set up by Tim and others, but failed to go ahead due to the National Front sticking their noses in, and that is complimented by Tim’s original hand written poster of that Conflict gig.

I’m still so chuffed about this little bit of local punk history from a bunch of teeny schoolboys that has suddenly landed into my possession!

Great stuff.

Bob Marley / Pablo side 1

Bob Marley / Pablo side 2

The first 12” single released on Daddy Kool Records in 1979. I do not know the story of how Keith Stone managed to arrange for one of the trilogy of reggae superstars (Marley, Dennis Brown, Gregory Isaacs) to end up on his record label, and I would be very interested if anyone that does know, will let me know!

Bob Marley, Augustus Pablo and the Upsetters was (and still would be) a scalp worthy of hanging up as a warning of intent.

The Bob Marley track was a track that failed to make the ‘Soul Rebel’ album (from the Lee Perry sessions) released on Upsetter Records / Trojan Records in 1970. The Augustus Pablo track was an alternative cut of ‘Java’, Pablo’s ‘signature tune’, this version originally released on Upsetter Records in 1972.

I went to Daddy Kool several times (as you would expect) but I kept any chatter with Keith to an absolute minimum, keeping my head down flicking through boxes until the time came to toss my selection onto the counter, cash ready to cover.

I had two bad experiences with Keith’s public relations grace (one of which was my younger brother’s experience really).

1979 or 1980, my younger brother sends cancelled cash to Daddy Kool Mail Order to cover the cost of buying the Island Records ‘cash in’ ska compilation album, ‘Intensified’, actually a brilliant compilation album.

Days and weeks went by with no package arriving. Eventually my brother phoned up Daddy Kool and got a very angry record shop owner screaming him down in a one sided verbal spar, after my younger brother had told him that the record had not arrived…

“You calling me a fucking thief – fuck off cunt” etc etc.

My younger brother was twelve or thirteen, and light of one ska compilation album.

This incident was always swimming around in my head when visiting the Daddy Kool record shop. Many years passed and I thought, as no one else was in the shop, that I would humorously bring up this incident.

Let’s just say I didn’t bring the incident up again.

Back to keeping my head down flicking through boxes until the time came to toss my selection onto the counter, cash ready to cover.

Below are a couple of comments that were on a blog, and I found quite interesting and worthy of sharing.

Comment names as given on the britishrecordshoparchive Daddy Kool page.

Photo of Keith Stone and the Daddy Kool record shop in 1978 courtesy of ADz.

I went to Daddy Kool based at Hanway Street in 1978. Keith was at the counter and there was a moody looking Rasta at the side in front, and I walked in. I was a Hi-Fi salesman from Leicester, dressed in a suit with a smart haircut, and while many would have been intimidated, I was in heaven and just listened and observed.

The speakers were concrete columns and incredible, both the Rasta and Keith were amused when I asked for records that the way I looked would not portray my taste. I bought the ‘Mexicano v Dreadlocks at O.K Coral’ 12″ single, ‘Loving Pauper’ 12″ single by Ruddy T and Trinity, and about six 45’s pres. While I waited he played ‘African Dub Chapter 3’ album that had just been delivered to the shop. I bought that to.

The shop was tiny, the place was full of vinyl, and those bins were amazing, the volume was undistorted and earth shatteringly loud.

Keith was pleasant that day and was happy to assist this dorky bloke in the crap suit with his reggae records.

Adrian David.

Daddy Kool Records was originally at street level and the space filled with racks jammed with new and second-hand reggae albums and 12” singles. Expensive, collectable albums yellowed on the walls and the counter boxes contained hundreds of Jamaican 7” singles where affordable treasures could be found.

There were cardboard boxes everywhere brimming with records. The shop had patches of damp cardboard on the floor and strip lighting above but could be really bustling, like the fruit and veg market outside and general pavement traffic.

I first visited in the early 1990’s when I was beginning to get into Jamaican music after moving to Hackney. I found the place fascinating and quite intimidating. It wasn’t just the volume of bass coming at you from the shop system, but the sleazy, ‘you can get what you want here’ vibe that was all over Soho back then, even though the merchandise on offer was vinyl instead of porn.

His reputation for grumpiness was just, and he could be hilariously rude to customers, but that never bothered me. I once asked him to play a stack of records without realising he’d just jammed his finger in a door hinge… on realising I braced myself for the worst, but with bloody nail hanging off he obliged. Wincing and using one hand!

The operation moved to the much cosier basement around the late 1990’s. You’d descend the steep stairs and get a waft of Keith’s lunch! Spanish omelette and chips seemed to be a favourite.

The basement retained much of the upstairs atmosphere but closed around 2003.

I think Keith sold his personal collection to Mick Hucknall.

Robert S

Webcore side 1

Webcore side 2

Uploaded tonight is the second Webcore cassette tape, released on A Real Kavoom from Cornwall in 1986.

I liked this band very much and saw them perform many times in and around the capital in many squatted venues including the 121 Railton Road bookshop in Brixton, the old Jungle Records building in Essex Road Islington, the Mankind Club in Hackney Central and others.

There were also plenty of great nights at the Club Dog venues in Wood Green and Finsbury Park that should also be mentioned.

Webcore also supported Psychic TV on a couple of occasions…

Below is a snippet of an interview with the Webcore keyboardist Paul Chousmer ripped for the site.

DS: How would you describe Webcore?

PC: Webcore were often described as way ahead of their time (at the time, if you can see what I mean.) I sort of took the roll of manager as nobody else would and we played everywhere. I (and Ed ‘Ozric’ Wynne) took the same view that the best way to publicize ourselves was to play wherever we could. So we often found ourselves at the same dodgy benefit gigs. All sorts of squats, free festivals, you name it. So we got a reputation for playing together all of the time. I’ve always thought our music was completely different. I felt there was a common psychedelic thread and we were always up for a party. Then Club Dog started (by Mike Dog, who later had the Ultimate Record label with groups like Eat Static and Senser) Webcore, the Ozric Tentacles and Another Green World all became regulars. And we grew with it.

DS: I agree that Webcore’s music was ahead of its time at the time. What would you say were the musical influences of the group?

PC: Our influences at the time inevitably included ENO, but also Psychic TV, Siouxsie and the Banshees, it’s difficult to say now from this distance in time. I would say we brought lots of different things together. Mick was a poet not a singer, so that was his approach. Trying to make his words fit. My idea was to create atmospheres behind the songs. Setting the scene. We were all experimenting. Just trying out ideas and if they felt good. It’s funny now that I’m teaching I see loads of young bands coming together. They all seem to want to sound like somebody else. The A&R mentality of copying whatever the last big hit was! We didn’t think that way at all back then!

DS: Webcore’s music also seems quite different from much of the other free fest bands like the Ozrics and Psi. How do you feel that Webcore fit into this scene?

PC: You’d have to ask this one of the audience really. I find it very hard to be objective. I would say that I was always surprised that Webcore’s audience danced a lot. I didn’t think of our music as dance music. This was fairly unusual in the free fest scene. Our music was also quite structured. Not totally, there was some room for improvisation. But there were definite maps to follow. The other bands seemed to be more into long wibble solos etc…

DS: What are your feelings on the festival scene of the eighties?

PC: You have to remember there was a right wing government ruling here at the time, with that bitch Thatcher at the helm. Lots of unemployment, kids on the dole, etc… Punk had run its course. We were all getting politicized. Stonehenge free festival was banned and suppressed by the police with a heavy hand. So free festivals were often a way to protest. We were all squatting, traveling. I have fond memories of that time. People were thinking of the world around them. I look at the kids now. They have no idea about politics. Nothing to protest about I suppose. The legacy of the Thatcher years is that everyone is out for themselves. Make as much money for yourself as you can and screw everyone else. I think that Reagan and his cronies did the same sort of thing over there.

DS: Through your music as Another Green World, you as an individual have moved quite easily from the scene in the eighties right into the club scene of the nineties and on. How do you feel about the club sound and what are you writing these days?

PC: I really like the music I hear in clubs these days. But it only sounds good in the clubs! In that atmosphere and loud. Most of it doesn’t seem to work when I put it on at home. However loud! In that sense I don’t really understand how I fit in. I actively try to make music that transports you from your armchair at home to some other place, without necessarily being really loud. This is important to me. So I keep in contact with these clubs, send them what I am doing. I just do what I do and they book me if they like it. This is probably quite old-fashioned these days. Everything is high sell, throwaway.

Brigandage Hammersmith Clarendon

Brigandage Hammersmith Clarendon

Indebted to David Manlove for the loan of this audience quality recording cassette tape of Brigandage performing at the Hammersmith Clarendon in 1984.

A handful of bands seem to have been connected with Kill Your Pet Puppy fanzine by forces so strong that one finds it hard to imagine one without the other.

Adam And The Antz, The Mob, Blood And Roses, Sex Gang Children, Southern Death Cult and Brigandage are examples that I can think of.

Obviously these bands would have existed without the fanzine, but a bond, I feel, did exist.

The U.K Subs, Crass or The Ruts, fine bands as they were, could not, I feel, get such a strong bond, or indeed any, with the Kill Your Pet Puppy fanzine.

I suppose it probably helped that some of these bands with that Kill Your Pet Puppy special bond had a history of sharing squatted houses, sharing drugs and gig experiences in similar venues, hairspray, magick and (maybe) even boy/girl friends within the Puppy Collective of the day.

Brigandage were one of the fine bands that I first heard on the John Peel show. The John Peel session that the band recorded in 1983 was so good that nothing (I thought at the time) could ever compare with the sonic pleasure of the three songs that were recorded specifically for John Peel.

I saw the band live and they were great, but then they split up!

The band were quickly resurrected in 1984 with the help of Richard North (who wrote and edited the excellent Kick fanzine and also did reviews, essays and interviews for the N.M.E) and two other members, joining Michelle from the original line up.

This new line up is the band that performed at the Hammersmith Clarendon captured on this cassette tape.

Step back to 1983; Richard North was already a friend of Michelle Brigandage and of the Puppy Collective, and it turned out to be a decent year to have a journo friend onside, as an article was written up on this newly named ‘Positive Punk’ movement which commanded a front page and center spread in the N.M.E.

Featured in this article were Blood And Roses and Brigandage, and for good measure several other bands were name checked throughout the article, Southern Death Cult, The Mob and so on.

Shortly after the N.M.E article, The Face magazine got involved in the rush to feature the movement, slipped effortlessly into the glossy pages of the magazine.

Even notorious speed freak Michael Moorcock, set up his TV cameras and got busy, filming both Blood And Roses and Brigandage at the Tribe Club in Leicester Square, and continuing to film footage at Puppy Mansions in Hampstead.

There were notably, interviews (and much grinding of teeth) with members of Brigandage and Blood And Roses surviving the final cut…

What happened?


The band’s at the forefront of this little scene had all split up by the end of 1983, as did of course, and as previously mentioned, Brigandage themselves.

There were not a lot of bands to replace the disbanded groups like The Mob, Southern Death Cult and Blood And Roses, that were of the same quality to carry this small scene on effectively, so the ‘Positive Punk’ movement pretty much died a sudden death there and then.

The ‘Positive Punk’ movement left in it’s wake some great live experiences, some great records and tapes, and some obscure literature in a few magazines, including of course, Kill Your Pet Puppy fanzine.

Brigandage were really great.

This 1984 performance of Brigandage rocks on with just enough 1976 punk spirit to overtake the opposition by several yards…

The visuals in this YouTube post include the pages of the booklet that accompanied the F.Y.M cassette tape which was released in 1984.

Savage Republic side 1

Savage Republic side 2 

The Africa Corps (Savage Republic) debut album, a stunning release was released in 1982.

This is a beautiful album to gaze at. 1000 individually numbered limited edition copies, all individually screen-printed on a very ‘heavy’ card sleeve. My copy is number 942 and the centre labels, as well as the front and rear of the sleeve have Arabic writing on them – I think other copies are all slightly different.

This release also has rich musical textures within the grooves as well as the packaging and simply must be listened to.

Text below courtesy of

The album ‘Tragic Figures’ was originally recorded under the band name Africa Corps. After it was recorded and the sleeve had been printed, Drucker announced that he was unhappy with the connotations of the band name.

Bruce; “When Phil laid down the ultimatum that we had to change our name or he would leave the band just as our first album was about to be released we spent a couple days brainstorming on what might be an appropriate new name for the band. We’d recently done some explosive shows in L.A – one at Al’s Bar that a friend had said was like a war zone on stage, so ‘Savage’ seemed to fit. And the idea of a ‘Republic’ also seemed to fit, as we did everything ourselves booked the shows, flyered, wrote all the music, made all the band decisions, did our own recordings, album covers, etc. Just like most every other band that wasn’t on a major or trying to be. But somehow, as conceptual art students we liked the idea of stating the obvious in a conceptual way, and I think somehow both Phil and I were drawn to the idea that we were establishing our group as something a bit more substantial, and we liked the idea of calling ourselves a ‘republic’. I remember thinking of the name ‘Savage Republic’, during the brainstorming and almost saying something, then discarding the idea because it seemed too obvious. Just like an art student to think he has to be more mysterious or obtuse or something. Then Phil said; “What about Savage Republic?” It seems the name was hovering around in the ether that day, and we both sort of plucked it out, though Phil was the first to verbalise it. And it quickly became obvious that that was the right name for us.”

The name had been a problem before, with people approaching the band admiring Africa Corps’ apparent Nazi connection, Drucker was Jewish so its appreciable that he wouldn’t like such thought. There was also a band called Africa Korps on the East coast, which in itself may have created problems. Licher was left having to print ‘Savage Republic’ over every place that the original sleeve said ‘Africa Corps.’ The legacy of the original band name remains in the usage of an altered Africa Corps logo for the band merchandise. Bruce substituted an Islamic Crescent and Star for the original Nazi Swastika thus hopefully removing the original connotations.

This album is the most punk sounding the band got. Beneath the murk in the mix the band sounds like a cerebral hardcore band with a funky rhythm section playing eastern tinged surf music covers of serial music. I tend to group it alongside such mavericks as the first Meat Puppets releases and D.A.F.’s Die Kleinen und Die Bosen, both of which came out in the same year. It definitely shares the same qualities of pushing against the barriers of what could be seen as punk music while retaining the same raw edge that less musically ambitious bands had. This may be down to the band not yet being entirely used to their instruments, a quality that Bruce has said elsewhere led to reinterpretation. Here things were made slightly awry because Mark was dabbling with psychedelics all the way through his time in the band and it had a negative effect on him in the long run. This caused some hairy events just before the recording of ‘Ivory Coast’, otherwise one of ‘Tragic Figures’ most memorable tracks, leading to drum tracks not being quite as strong as they could be.

The original sleeve features the firing squad execution of an Arab dissident, according to Ethan Port; “It’s an Iranian college professor, who’s hand is bandaged from being broken. He was the history professor of a U.C.L.A student who lived in the U.C.L.A Cooperative Student Housing with me in the 1980’s.’ I was afraid that such images would mean that the reissue campaign of late last year would be delayed if not halted by happenings in Afghanistan; luckily this wasn’t to be the case, not for very long anyway.

The French Sordide Sentimentale release used a different, abstract image, presumably because of the political ambiguity of the original images.

Tribesman side 1

Tribesman side 2 

Try as you might you will not find any articles on any websites regarding Tribesman. Nothing apart from a couple of YouTube posts, eBay and Discogs, and other commercial outlets to purchase some re-released copies of the handful of 7″ and 12″ singles and one album.

Nothing else. Ziltch.

I have not found any mention of Tribesman in any of the reggae books that I own, and I own a few!

Before I got pissed off, I glanced through the obvious books.

Steve Barrow’s ‘Rough Guide To Reggae’, David Katz ‘ Solid Foundation’ Tighten Up – The History Of Reggae In The U.K (ahem, except one band), the Virgin Encyclopedia Of Reggae (yuck – a Christmas present several years back).

Further, I looked in Steven Davis’ ‘Reggae International’ and finally Dave Thompson’s ‘Reggae And Caribbean Music’ and Lloyd Bradley’s ‘Bass Culture’.

Nothing. Ziltch.

Absolute madness considering…

What I do know is that Tribesman seemed to have been close to Dave Goodman, ex live soundman, and the studio producer for Sex Pistols in 1976.

Dave Goodman produced the Tribesman records that were released in 1978 and 1979 via ‘Boa’ Records, affiliated to his ‘Label’ record label, the latter better known as the recording home of punk band, Eater, and novelty records like the ‘Cash Pussies’ 7″ single.

Tribesman released three records for Boa Records;

The ‘Rocking Time’ 7″ single.

The ‘Finsbury Park’ 7″ and 12″ single.

The ‘Street Level’ album.

Tribesman released this promotional mini album that I have uploaded this evening via Dave Goodman’s ‘Label’ record label.

No sleeve artwork, just a TRIBESMAN stamp across a generic white sleeve, although there are printed labels on both sides of the record.

Unofficially called ‘Wonder Wolf’ due to the first track on the album.

I haven’t a scooby how many copies would have been pressed up. Although I would correctly guess at ‘not that many’ compared to records pressed up for public sale.

There are four studio demo tracks, and two live tracks (according to the labels on each side of the record) on this promotional mini album, although one of the live tracks sounds like a studio quality recording! The live track that actually sounds like a live track is pretty disposable in my opinion, a feel good jam based on Bob Marley’s ‘Waiting In Vain’.

The studio tracks are decent enough, and include ‘Rocking Time’ the debut 7″ single, a 7″ single that I assume was released after this promotional mini album.

I have seen a mention of Tribesman being part of the whole R.A.R scene in 1978, which is righteous enough.

Overall Tribesman’s sound, in my opinion, is similar to the earlier formed U.K reggae bands from the late 1960’s and dawn of the 1970’s like Matumbi and Cimarons, and how those two bands sounded in the latter part of the 1970’s.

So leaning towards a more commercial path compared to their mid to late 1970’s contemporaries, the tougher sound of Aswad or Misty In Roots and others.

After listening to Misty In Roots, Tribesman might not be everyone’s cup of sonic roots rock militancy…

A decent band, and a decent record nevertheless.

If anyone can enlighten me on a more concise history of the band then please leave a message and I will add ANY information to this YouTube post.

Crass – Glasshouse – May 1984 / Alternative TV – Deptford Fun City Records – 1977 / Demob – Round Ear Records – 1981 – 1982 / The Astronauts – Bugle Records – 1979 / Exit Stance – E.S Records – 1984 / Screaming Dead – Dead Records – 1982

Crass – Glasshouse – May 1984

Indebted to Nick Comfylux for supplying me with this audio that he recorded at the back of the hall of Crass performing their last ever concert in London, and indeed one of the last performances.

Below are snippets of memories for two gigs from Tristian ‘Stringy’ Carter. Crass at the Bingo Hall, Flux at the Glasshouse, and the final word on the gig that was missed, Crass at the Glasshouse!

At the Bingo Hall in Islington, Crass were a little more ‘user-friendly’, more accessible on the night, albeit with well-known numbers interspersed with fury-driven snippets of ‘Yes Sir I Will’, and of course the more recent head-on turn of ‘You’re Already Dead’, and ‘Smash The Mac’ with its chilling guitar refrain.

The perceived failure of the peace-punks’ stance, and the turn towards more confrontational and violent action was of course personified at this time by the major emergence of Class War (established in 1983); the Bingo Hall was the first time I think I really started to take on board these changes in rhetoric and practice, and I have vague recollections of Ian Bone being there, arguments and scuffles…

That was a hell of a weekend, with recollections centring around the post-Camden gig mooch by about twelve of us up to the Bingo Hall, all quiet and seemingly empty, well certainly no-one answered when we banged on the door, so then decision time, what to do next?

Half the guys left for a restless night at Liverpool Street station, while we wandered about until we bumped into some lovely Scottish mohawked character, who knew all about the next night’s gig and was happy for us to crash at his flat, a fun night of incomprehensible accents, cider, and the Icons Of Filth E.P being played again, and again, that and us lot chrysalis-like scrunched up in our sleeping bags on the warm floor…

Next day and to the well-known Upper Street chippy none too far round the corner from the Bingo Hall itself (renowned for the fact that it didn’t fry its chips in lard, so we could eat them), then a day of hanging out, helping to move the gear from Crass’ van into the venue and the gradual gathering of the clans.

Great gig, great memories of togetherness with the Ipswich guys, the feeling of community at the Bingo Hall itself and this feeling of things really happening in new ways, as we segued from the carefully policed C.N.D demos to the more ad hoc and fluid Stop The City movement.

Over the next few weeks things got a bit quieter for me; I didn’t end up participating in the March 29th Stop The City, and most gigging was avowedly local as I had turn my attention to ‘A’ Level exams and the end of high school life.

The next real blip on the radar was the Flux Of Pink Indians / D&V / Chumbawamba gig at the squatted Camden Glasshouse on the 4th June, another great place, albeit with somewhat worryingly bouncy floors for an upstairs venue.

It also had a different vibe because of the bands’ musical variance. I always had a soft spot for D&V, their minimalist sound (drums and vocals), with looping quasi-rap / staccato lyrical punctuation, and a good humoured front-man.

Could have sworn this was the gig of Flux playing in beachwear and an encore in knickers, but if not, then I do recall a broken down reggae-styled segment at the end, I think a ‘Tube Disasters-Progress-Tube Disasters’ segue.

Whether humour was the driving force behind the reinterpretation I am not sure, but I chose to view it as a breath of fresh air, or olive branch to all after the recent aural hostility and fury of the ‘Fucking Cunts Treat Us Like Pricks’ set of March.

Not giving up, or taking the foot off the pedal per se, but maybe an appreciation that your engagement with the shit out there could only run so far on anger, and that we required some nuanced approaches, and different tools in our box, for dealing with all that we were being confronted with.

Then there was Chumbawamba.

I think this has to be the first of many occasions I’d saw them, and it was just wonderfully different. Categorically on the same page in terms of many of the themes being discussed, but here the nuance and variety of approaches I believed were coming to the fore with the Flux Of Pink Indians performance that night, but very much taken to the next level. It was categorically theatrical, with the shifting vocals, the literal changing of the instruments between members, the harmonies alongside the punch, the clothes and posture, again a much needed change of pace from what at times had become a miasma of well-intentioned re-iterations of the Crass / Conflict / Subhumans / Antisect families.

Talking of Crass, that was the one downer of the night, when I asked an attendant Phil Free if those guys might play the Glasshouse, only to be told they’d indeed played there a few weeks earlier…


Tristian ‘Stringy’ Carter

Indebted to Jim Wafford for the photographs of Crass performing at the Glasshouse.

Alternative TV – Version 1 A

Alternative TV – Version 1 B

Alternative TV – Version 2 A

Alternative TV – Version 2 A

Uploaded tonight are BOTH versions of the debut 7″ single by Alternative T.V.

Both records and sleeves have been scanned and if you are sad like me, you will notice that the alternative version of this 7″ single has ALTERNATIVE VERSIONS written upon the label.

Furthermore, the folds on the rear of either sleeves are slightly different. I told you I was sad.

Oddly the catalogue number DFC002 is the same for both versions. I assume it must have been pot luck which copy you were supplied over the counter back when it was released.

The first release on Deptford Fun City Records, DFC001, was ‘A Packet Of Three’ by Squeeze. Yes, that Squeeze!

This debut 7″ single by Alternative T.V is of course a classic, and here are some words on it from Mark Perry

“We didn’t actually record ‘Love Lies Limp’ as a single cos that was one of the songs we did for E.M.I as a demo. We did four songs, we did ‘Love Lies Limp’, ‘How Much Longer’, ‘You Bastard’ and ‘Life’ as as demo.

We went in an’ did these songs, and ‘Love Lies Limp’ was about sex and had swearing in it, I think I swore in ‘How Much Longer’ at the end – “You all don’t fucking care” – ‘You Bastard’ – well, “You bastard”, right? – and ‘Life’ was the only one that was “acceptable”.

E.M.I basically said “Look, very interesting, but we think it’s too political, it’s too controversial” – that’s what they said about our music, it was quite funny – but the good thing about the E.M.I demo was that it was like a free recording for us, so we had these tracks. I dunno I had the idea or someone else had the idea that when it came to the last issue of Sniffin’ Glue, cos by that time we’d recorded a different version of ‘How Much Longer’/’You Bastard’ for the first single but we hadn’t put it out yet, and just thought it’d be a nice introduction to the band.

The concept idea that you end the fanzine so one thing ends of mine, and the band starts. So that’s why. But I don’t know why we chose that particular song for the flexidisc.

It was good to do something different. Someone also mentioned that cos it was a flexi, cos it was on a floppy disc, y’know ‘Love Lies Limp’? I didn’t think of that, someone else come up with that.

Someone said that in the NME, they said “This is not a conventional record, this is ‘Love Lies Limp’ on floppy, and they made that connection. I think it was a bit of an inspired idea doing that flexidisc.

I think we spent all our profits on it, which didn’t amount to much, but we had load of ’em, cos what happened was we had got 20,000 made of the bloody things. In fact, Harry Murlowski, who was at the time he was doing more of the business side of the fanzine and that, he was at his mum’s the other day, well last year or something, and he was looking in the loft and he found a box of ‘LLL’ flexidiscs, about fifty of ’em.

The debut single had two versions. What happened was, we did the E.M.I demo, and we thought that was pretty cool, more rough and ready, and then we re-recorded it for the proper single but after living with the first single for a little bit, not long, I just thought it was over-produced, and I liked the old version better.

What we did, when we did a re-press we just thought we’d put that other version out, the E.M.I session one, so that’s what we did. They are quite different. The E.M.I version is much more what we sounded like live, there’s no overdubs, it’s just as it is, y’know”.

Whichever version you prefer, and I feel you should give both versions a listen while you read this immense KYPP post HERE

The three original 1977 flyers that are featured on this YouTube post are from the collection of Tony D, Ripped And Torn and Kill Your Pet Puppy fanzines.

Dedicated to Robert Dellar – 16th December 1964 – 17th December 2017.

Demob First Single

Demob First Single

Demob Second Single

Demob Second Single

I always thought Demob were great and severely underrated at the time, so I am uploading both 7″ singles that were released during the band’s lifetime.

All these tracks that are uploaded by this band tonight are great, but ‘No Room For You’ (five minute mark) is an absolute stone wall classic…

For best results play this track loud enough to receive a visit and a court order from your local plod / social services.

Undoubtedly one of my favourite songs by any bands at that time.

I’m listening to ‘No Room For You’, as I write this, LOUD.

Text from Wikkiwackiewoo.

Demob formed in late 1978 by guitarist Terry Elcock and drummer Johnny Melfah, and they were soon joined by Mike Howes (vocals), Tony Wakefield (bass) and Chris Rush (guitar). Howes ex-army skinhead friend Andy Kanonik soon joined, also on vocals.

It was this line-up that first rehearsed and played the first gigs in and around Gloucester, the Viking Youth Club becoming the main place of rehearsals and Tracy’s night club was the first venue that Demob played in 1978, and became the local night club hangout for all the band and punks at that time. Elcock had previous experience on guitar as a member of a church band.

Demob’s first big break came in the summer of 1979 when they fooled the authorities into letting them have a place in the Gloucester annual carnival parade.

The ever increasing support for the band resulted in a mass riot between the punks and the bikers and, ultimately, the suspension of the carnival. The riot made national press and attracted the interest of the local record label, Round Ear Records.

In 1980, Howes was sacked from the band, and Kanonik was imprisoned for three months, leaving the band without a singer.

The band had just recruited Mark “Miff” Smith to replace Rush, and he took over the role of singer, with Paul “Fatty” Price also replacing Wakefield on bass. Smith soon become an integral part, arranging and organising gigs.

With the line-up now comprising Mark Smith (vocals), Terry Elcock (guitar), Paul Price & Barry Philips (bass guitar), and Johnny Melfah (drums), the band worked on their first recordings. ‘Anti-Police’ was Demob’s first release on the independent Round Ear Records, the record was supported by the late John Peel, and journalist Garry Bushell.

The record spent over two months in the UK Indie Chart, peaking at number 34.

On the back of the success of ‘Anti-Police’, Demob supported many acts around the punk circuit at this time, including U2 (!), UK Subs, The Angelic Upstarts, Discharge and The Beat (!!).

Most performances ended with a police presence and inevitable violence with their notorious hardcore followers, the ‘Demob Riot Squad’. The band’s multi-racial line-up sometimes attracted hostility from Nazi skinheads who attended their gigs, and the band would play several concerts in aid of the Anti-Nazi League.

A second single, ‘No Room For You’ quickly followed to add to the success, but unfortunately, like so many punk acts of the era, musical differences soon developed amongst the line up and Demob split to pursue other musical avenues in 1983.


The Astronauts First Single

The Astronauts First Single

The Astronauts were partly responsible for inspiring me to start helping out at All The Madmen Records, based in Brougham Road Hackney, in 1985.

The Astronauts were just one part of a mish-mash roster of bands that included Flowers In The Dustbin, Zos Kia, Blyth Power and of course The Mob.

This wonderful debut extended play 7″ single by The Astronauts was released by Bugle Records based in Potters Bar, Hertfordshire.

Mark Astronauts’s well thought out lyrics are always written with great feeling and care are impeccably delivered.

Bugle Records also released the second extended play 7″ single by The Astronauts a year later.

Text below written by Robin Basak of Zero fanzine fame, ripped off with love from his Acid Stings site.

Eternal long-haired losers who also have some of the best tunes this semi-legendary band has only released six albums in its long existence but each of them is a bonafide classic.

The Astronauts second album ‘All Done By Mirrors’ judged by those who heard it as among the best albums of all time was a stunning collection of explosive pop songs and traditional folk ballads recorded at a time when all their gigs were with anarchist punk bands.

Their fifth album ’In Defence Of Compassion’ experimented with ambient house music years before other conventional bands even thought of doing so.

Inspired by the UK punk explosion Mark Astronaut formed the band with a few friends in 1977 and began playing local gigs in their hometown of Welwyn Garden City.

By 1979 The Astronauts were regularly appearing at free festivals and gigs in London organised by a hippy collective known as Fuck Off Records and from these began a close friendship with then London based punk bands Zounds and the Mob.

That year the first Astronauts E.P was released on local label Bugle Records and musically it reflected the hippie drug culture combined with the energy of punk. ‘All Night Party’ still sounds like the paranoid nightmare it did back then. The record established the Astronauts on the local gig scene among the non mainstream hippie/punk/biker crowd.

Also in 1979 an E.P was released under the assumed name of Restricted Hours on the Stevenage Rock Against Racism label. ‘Getting Things Done’ attacked the political apathy of small town life while ‘Still Living Out The Car Crash’ was musically a typically nightmarish theme.

By 1980 gigs throughout England with Zounds had won over an army of fans and the ‘Pranksters In Revolt’ E.P sold all its copies within weeks. Musically the four songs were not as adventurous as the first E.P although the lyrics were as incisive as ever.

Like many great bands from the post punk era the Astronauts were completely ignored by the UK music press which then as now was only interested in anything trendy, fashionable or middle class. Local fanzine Zero began to champion the band as did the local newspapers.

The ‘Peter Pan Hits The Suburbs’ album was released in 1981 to widespread acclaim. Incredibly it received great reviews in virtually all the UK music press.

The typical Astronauts audience at the time was largely hardcore punks attracted by the energetic gigs and a handful of hippies so the album was something of a surprise. Full of heartfelt folk ballads and featuring legendary saxophonist Nic Turner, the album was not what fans had expected but appealed to a different audience. The contradiction of heavy chaotic punk performances and structured melodic alternative pop/folk/ambient songs continues to this day.

Throughout 1982-1985 there were hundreds of gigs with the many anarcho punk bands of the era and ‘All Done By Mirrors’ was arguably the finest album to date.

The ‘Soon’ album featured great songs but was let down by lifeless production while the ‘Seedy Side Of Paul’ album combined a scathing indictment of the 1980’s attitudes of greed with some truly wonderful songs.

I have scanned the original biog and lyric sheet that I had stuck in my copy of this record to compliment the audio for this YouTube post.

Exit Stance First Single

Exit Stance First Single

Presenting a brilliant 7″ single by Bristol’s Exit-Stance.

This is not the Milton Keynes punk band that released records on Mortarhate and supported Conflict from time to time.

The Exit-Stance that recorded these two tracks uploaded today and releasing them on this record via the bands own label, were from Bristol and had a sound reminiscent, actually pretty much a carbon copy, of UK Decay (with added Ritual perhaps).

After the recording of the ‘Esthetics’ 7″ single, the punk Exit-Stance (perhaps supported by Mortarhate records) forced the Bristol Exit-Stance to change their name after threatening legal action.

If that was correct then it’s a pretty ironic situation, considering.

Bristol’s Exit-Stance changed their name to Feud and I assume the Milton Keynes Exit-Stance were OK with that.

I know nothing else about this band from Bristol, save that this is a very good 7″ single.

I am sure the record would probably get played at goth nights if anyone owned a copy!

Screaming Dead First Single

Screaming Dead First Single

Screaming Dead were a band I first read about in a copy of ‘Rising Free’ fanzine (The ‘No Future’ issue of Rising Free to be precise) written, edited, printed and distributed in and around the Welwyn, Hitchin and Stevenage areas.

I was surprised to read about this band as the band came from the DARK SIDE of the world, well from Cheltenham to be exact, home to the another punk band, the massively fine Demob.

Screaming Dead. Cheltenham’s answer to the Misfits. That can’t be a bad thing.

The band, named after the English title of Drácula contra Frankenstein, the 1972 horror film directed by Jesús Franco, was formed by guitarist Tony McCormack, who recruited former singer with The Waste, Sam Missile, bass guitarist Mal Page, and drummer Mark Ogilvie.

The band built up a strong local following which spread farther afield with coverage in fanzines such as Gez Lowery’s ‘Rising Free’ and through sales of their demo tape.

They followed their first tape with a more formal release, the ‘Children Of The Boneyard Stones’ cassette, which came with a badge and a copy of the band’s own fanzine, ‘Warcry’.

They then self-financed their debut vinyl release, the ‘Valley of the Dead’ 7″ single, initially released on their own Skull Records label, but when it sold out of its first pressing within a week it was picked up by No Future records.

The band’s next release, the ‘Night Creatures’ 12″ single, saw them break into the UK Indie Chart, reaching number 22 in September 1983.

While the band were at times tagged as Goths, the label was rejected by Bignall, who in a posthumous interview stated “Screaming Dead were a punk rock band, there’s no doubt about that! We had a bit of an interest in the horror theme, and that was how we decided to present ourselves.”

For their next release, the band recorded a cover of the Rolling Stones’ ‘Paint It Black’ which was also an indie hit, and was recorded as a tribute of sorts to Brian Jones who is buried in their home town of Cheltenham.

In 1984, taking inspiration from X-Ray Spex, the band recruited saxophonist Nick Upton, the band also signing to Nine Mile Records, who issued their last two releases on the Angel label.

The change in sound lost a lot of fans, and with interest in punk rock declining, the band split up in 1985.

Hysteria Ward – All The Madmen Records – 1987 / The Fall – Chaos Tapes – 1982 / John The Postman – Bent Records – 1979 / Getting The Fear – Demo – 1984 / Something Stirs – Adventures In Reality Recordings – 1984 / Rudimentary Peni – Welwyn Garden City Ludwick Hall – May 1982

Hysteria Ward flexi-disc

For a full history of Hysteria Ward there is no better place to start than this special Kill Your Pet Puppy post HERE which is well worth reading through.

Side 1

Side 2

This performance by The Fall was recorded on the 11th December 1980 and was the first in a two night stint at the Acklam Hall, Ladbroke Grove in West London.

The support act for the first night were the Furious Pigs.

The audio on this cassette tape is from that performance.

The following night, the 12th December, The Fall performed alongside The Hamsters, members of that band are still writing and performing in the guise of Kill Pretty.

Several years ago Kill Pretty released a 7″ record and a CD on the All The Madmen record label.

This cassette tape has been uploaded on 11th December 2016, thirty six years to the day of this first Acklam Hall gig in 1980.

Below is the review (part interview) of this cassette tape from the N.M.E written by X Moore A.K.A Chris Dean from The Redskins.


The Fall – Live In London 1980 – Chaos Tapes

Chaos Tapes captured Discharge, Anti Pasti, Vice Squad, Chron Gen and Chelsea live, and have now thrown The Fall in with them.

“Yeah, well, it’s some lads in East Anglia, got this idea to tape us when we were down there playing two nights at the Acklam Hall. They said they wanted to put it out and we thought it was the second night, the good night, and said yeah… but it was the first night.”

It’s raw.

“Yeah, it’s raw but it’s a good laugh. We were trying out the stuff from ‘Slates’ for the first time so it is rough. Like, that’s the idea of this, to break the backs of all these twats who tape new numbers at our gigs. Cos we play new stuff into our set quick it doesn’t take ’em long to realise they can tape a gig and put them out before the albums released.”

This one’s come after the ‘gram, all material having already appeared elsewhere. The Official bootleg.

“Yeah, we knew about it this time. It’s a good idea, a good tape, y’know.”

It’s sixty minutes of The Fall’s best (and, zwept, their best includes some real gems) and trashed the opposition before it’s halfway through side one. The feel tho’ is less ‘live’, more ‘rehearsal’ cos the gab ‘tween songs has been edited out, taking with it a lot of Mark E Smith and some of the edge.

What you get is a more relaxed Fall, the animal less strung up, and more room for the comedy in the lyrics. On top of ‘Hex’, this is another nail in the coffin of that hack-fabricated monster, Son of Smith, the obsessive prole art dogmatist that masterminds ‘The Fall’. Here it sounds like they’ve got a different singer.

“Yeah, well, that’s alright,” he says and talks about Yorkshiremen instead, asks about London.

“Are you enjoying yourself?”

The ‘Live In London’ cassette tape states: Don’t get so hung up about a great band.

Son of Smith is not The Fall says… X Moore

This record has a standout track in a ten minute version of ‘Gloria’, originally performed and recorded by Them, Van Morrisons band.

The other tracks seem to have been just a few ramshakle ideas made up on the spot in the studio, which is a shame as if John The Postman and his band could seriously pull off a mad version of ‘Gloria’ then who knows how good this album could have been.

A niche listen for sure, and quite humourous in parts, but effectively a one spin record. Except ‘Gloria’ starting at 2.50.

Below is a nicely written orbituatury from The Guardian.

My friend Jonathan Ormrod, who has died unexpectedly aged 59, was the Manchester punk musician known as Jon the Postman.

A rebellious attitude, the public house, Woodbines and Frank Zappa helped to terminate Jon’s studies early, and in 1971 he started work as a junior postman in Newton Street main sorting office. But music was his first love, fed with a regular dose of John Peel’s late night programmes, which he recorded and catalogued every night.

Watching live bands quickly followed, with the NME as his bible and the underground music scene his sanctuary; he was devoted to Soft Machine, MC5 and the 13th Floor Elevators, and dedicated to the countless gigs in the numerous pubs and clubs of early-70’s Manchester.

The UK punk explosion in 1976 and the era-defining Sex Pistols gig at the Lesser Free Trade Hall prompted him to form a band of his own, and Jon the Postman and his backing band, Puerile, were born. They were crude musically, but had real passion and support, playing at the Electric Circus, Green Room, Russell and Squat clubs, and many more venues, supporting emerging new bands such as the Fall, Buzzcocks and Joy Division. They borrowed the equipment, and usually ended the set with the Standells’ Louie Louie, but it was never easy to tell.

Jon and the band released two albums – and added an “h” to his name. John the Postman’s Puerile was followed by John the Postman’s Psychedelic Rock’N’Roll 5 Skinners – Steppin’ Out (of Holts Brewery). Then, but for Michael Winterbottom’s film, ’24 Hour Party People’ the act faded into oblivion, in the spirit of the times.

For most of the 80’s Jon lived and worked in San Francisco, then returned to his roots in 1987. Until his death he was again working as a postman in Manchester, but his dream was to retire to Berlin where he felt truly at home, visiting it constantly for the past twenty years and with plans in place to celebrate his 60th birthday there.

The son of Harry and Edna Ormrod, Jon grew up in Harpurhey, north Manchester, the family finally settling in New Moston. He attended North Manchester high school, where we first met in 1967. He was a bright spark, excelling with little effort in English and history, and developed a love of cricket that continued for the rest of his life.

Jon was a gregarious character with a superb memory and an aversion to sleep. He was happiest with a wheat beer, a willing audience and a monologue about a particular night a very long time ago.

He is survived by his mother, brothers, Stephen and Mark, and sister, Cathryn.

Paul T Birkett

A cassette tape given to me by Genesis P’Orridge while he was still residing in Beck Road, Hackney during one of my visits there.

The first song, ‘My Struggle’ being my personal favourite of this demo cassette tape.

Getting The Fear evolved from the ashes of Southern Death Cult whose singer Ian Astbury jumped ship in 1983 to form Death Cult with various members of Ritual and Theatre Of Hate.

Bee, an ex member of Danse Society joined the back-line of Southern Death Cult namely Buzz, Barry and Aky and started rehearsals to lead up to the recordings of the tracks that appear on this demo cassette tape.

Bee at the time was an on/off member of Thee Temple Ov Psychic Youth and friend of Psychic TV. He was suitably adorned with piercings and tattoos, stabbed and inked by Mr Sebastian who operated in his tattoo and piercing parlour along Grays Inn Road near the Mount Pleasant Post Office hub in Kings Cross.

Mr Sebastian sadly died many many years ago.

The band got a lot of attention from Kill Your Pet Puppy’s fanzine’s successor in all things – colour-musu-politikal-magick – wise, Vague fanzine. Tom Vague was, in general, around the same squats and run down gig venues, that the Kill Your Pet Puppy collective would have been around.

Vague fanzine essays also meant there were features in the sadly missed Zig Zag magazine which was a nationwide monthly alternative music publication.

There was a real buzz about this band and Tom who had a finger in both the Southern Death Cult and Thee Temple Ov Psychick Youth camps, went onto champion this band and was rightly expecting huge potential from them.

RCA signed up this extremely good looking bunch of alternative boys in 1985 and sold them, as one would imagine, as a flat sounding, over made up pop band ready for the then dwindling Smash Hits magazine market.

Not quite as gritty as Vague fanzine or anyone that saw some of the celebrations that were the concerts that Getting The Fear performed imagined them to be.


RCA released one 12″ single entitled ‘Last Salute’ (with the B side ‘We Struggle’ being the pick of the tracks).

Getting The Fear seemed to be a band that were destined to burn out very quickly which of course they did.

1986 saw Bee and Barry start up Into A Circle and Aky got Fun-Da-Mental together.

Bee went to Thailand where he still resides and Buzz went to France where he may well still be…


We Struggle



Before I Hang

Coming Down Fast

The artwork that accompanies the audio for this YouTube post is the sleeve from my other demo cassette tape, an early demo.

This sleeve artwork was personally drawn by Bee, Genesis P-Orridge informed me when he handed me the cassette tape.

Side 1

Side 2

Seven chunks of dark-wave, and three less so (Furious Apples) from some of the obscure bands of that time.

Attrition and Furious Apples, both from Coventry starting off proceedings, Bourbonese Qualk and Legendary Pink Dots bringing up the rear.

The text below courtesy of Nic Bullen and Alan Rider.

Adventures in Reality was a fanzine put out in Coventry by a guy called Alan Rider. He was a friend of Martin Bowes (of Alternative Sounds fanzine and Attrition), and initially started doing live visuals for Attrition…

He then went on to start the label and released some interesting material such as his first cassette compilation (which also featured Attrition and 86 Mix (who appeared on the ‘New Criminals’ compilation with Sinyx, Subhumans and Flux of Pink Indians), the Attrition flexi-disc (which came as a freebie with an issue of his fanzine), the ‘Last Supper’ compilation tape (which featured SPK, Test Department and Muslimgauze), and this album…

He was also in a duo called Stress with Phil Clarke (who was the editor of the fanzine Damn Latin – if I remember correctly?) who played synth-based songs…

He moved to London in 1984 and that was the last I heard of him…

Attrition were a dark synth-based band who started in Coventry in the early 1980’s by Martin Bowes (editor of Alternative Sounds fanzine). Over the years they have garnered a reputation with elements of the ‘Industrial’ and ‘Goth’ scenes, and still continue to make music…

The Furious Apples were a very popular local indie band from Coventry who released 1 single and appeared on a couple of compilations including the ‘What a Nice Way to Turn 17 – No.3’ compilation (on the Swell Maps label Rather Records), and this album. One of their managers (who went on to manage The Primitives and Birdland) was responsible for the ‘Adolf Hitler European Tour’ T-Shirt that appeared in the mid-1980’s.

Nic Bullen

All that Nic says about me is correct, but he didn’t mention I also lived briefly at the Ambulance Station squat when I first moved to London and didn’t have anywhere to stay. I ended up at the Ambulance Station through Bourbonese Qualk actually, but was only there for a very short time. It felt too dangerous to stay in the Old Kent Road for any longer than was strictly necessary in those days!

It was a dangerous area for a scrawny industrial fan like me. I remember petrol being poured through the letterbox one night.

There was a fully working guillotine in one of the rooms too. I saw a few bands there. Attrition of course (I was still doing slides & visuals for them then), Bourbonese Qualk, Test Dept, and King Kurt.

Incidentally, I’m sure I have a few copies of the Furious Apples 7″ single somewhere. I’ve also a box of Attrition flexi-discs sitting in the cupboard.

There’s a lot more history to Adventures in Reality too, but that’s another story….

Simon Tanza from Bourbonese Qualk also did the front sleeve artwork for the ‘Something Stirs’ album. I remember him getting a bit annoyed that we were drinking his private beer stash we found behind the bar at the gig and he went round grabbing half drunk cans out of everyone’s hands!

Alan Rider

Side 1

Side 2

This performance was recorded on a hand held cassette recorder within the crowd and is of only average quality.

Just about listenable to be honest, although it is Rudimentary Peni, and any live tape by this band is rare enough, so worthy of archiving!

Most people in the hall were waiting for Subhumans to come on stage Rudimentary Peni went through their set fast and without interruptions. I think the band got a decent reception. Listening back at the cassette tape it seems like they did.

A band called Nightmare also performed, a band that I knew nothing of before seeing them. A few years later though, retrospectively, I learned that the bassist of Nightmare, Adi, had joined The Astronauts, and as a fixture in the Astronauts mid 1980’s line up, he was present for the recording sessions for what turned out to be the first side of the ‘Soon’ album released on the All The Madmen record label.

I was helping out at All The Madmen around this time so spoke to Adi on occasions at gigs, and I got to realise through chatting that I had seen his old band!

Incidentally, the Ludwick Hall venue also hosted a Crass, D.I.R.T and Flux Of Pink Indians gig a month or two before this Rudimentary Peni and Subhumans gig.

Every now and again, if there was a gig that my younger brother and I were keen on going to, our Father would give us both a lift in his black Austin Maxi 1750 to the gig venues, as long as those venues were within a reasonable driving distance and if the route there was not overcomplicated. He would pick us both up at an appointed time, fifty or so metres away from any of the venues!

The road to Stevenage Bowes Lyon House would be driven, but every now and again, roads to Welwyn, Harlow or Bishops Stortford.

Rudimentary Peni returned to Welwyn Garden City again the same year, and I think performed with The Mob, Flux Of Pink Indians and Conflict. I was not at that gig.

In the summer of 1983, The Mob returned to Welwyn Garden City to perform at Monks Walk school with Verdict, a band that featured Jon Thurlow ex of Chron Gen on the guitar. Chron Gen were one of my favourite bands a year or two previously!

Verdict had a saxophone player so they had a little bit of a Theatre Of Hate-ish sound music-wise! Verdict would never have been in the races style and boyish good looks-wise, I think it would be fair to state!

Towards the end of 1983 Verdict performed at the Pioneer Hall in Hertford with some local bands including Strontium 90, a band that included a couple of ex-school friends (I had left school in the summer of 1983) and Tim, the ex drummer of Necro, my younger brothers’ school boy punk band.

Necro, as a band, had halted by the summer of 1983, but within that bands short lifetime, the band failed to impress, not one, but two punk superstars in Colin from Flux and Steve from Newtown Neurotics at a gig down the Triad in Bishops Stortford.

The band failed to support Flux Of Pink Indians at a C.N.D festival in Hertford, due to ‘time issues’. Tim, Necro’s drummer had actually helped to set that event up!

The band failed to support Conflict at the Tudor Hall in Hoddesdon, due to B.M/ N.F / B.M threats to the venue on the day of the gig so everyone went home!

I think the band was jinxed.

On a happier note, local band-wise, Virus, another school boy punk band, with connections to Necro, did manage to actually support Subhumans and (I think) The Destructors in 1983 at the Bowes Lyon House in Stevenage.

Another local band, Onslaught, released one 7″ record which was great!

Psychic TV – WZBC Interview – 1984 / Interview with Genesis P-Orridge discussing William Burroughs – 1981 / Current 93 – LAYLAH Records – 1984 / Coil – LAYLAH Records -1984 – Street Level EP – Fuck Off Records – 1980 – Blue Midnight – 100 Things To Do Records -1982 / Rubella Ballet – Xntrix – 1982

Interview Part 1

Interview Part 2

Sandie Charron hosting Genesis P-Orridge Decadant and John Doe Gosling Joan Ov Arc on Boston College Radio WZBC station on the 21st April 1984. Genesis hitting the humour straight off of the bat with the introductions.

This interview shows a more playful and mischievous side of Genesis P-Orridge with Sandie Charron playing along graciously, although seemingly a little confused with of the discussion at some points.

This audio on this old C90’s seems to have been duplicated from the source recording but recorded far into the red (rather than being recorded in more audio friendly green or yellow) This means that the audio has a fair bit of distortion present, very noticeable on the Psychic T.V musical interludes. The songs ‘Orchids’ and ‘Roman P’ are pretty badly affected but the talking audio is OK, as the participants do not particularly sound like screeching aliens..

An interesting interview nonetheless Genesis P-Orridge and Sandie chatting about several subjects. At the end a recording of Genesis P-Orridge daughter Caresse crying and a wailing seemingly ends the interview…

I added some visuals to this YouTube post to compliment the conversation. The visuals are:

The Psychic T.V skull test card.

All pages from the ‘Personal Message From The T.O.P.Y’ handout.

A rare Tatler magazine article on Psychic T.V / T.O.P.Y (including a picture of Min with Lurch from Yeovil).

Artwork of a weird Hitler-Lucifer-Horn type affair.

I am placing a few Psychic T.V audio posts up at the moment as there is a documentary being considered and I wanted to get some of this rare material out in case Sacred Bones from New York City are interested in including some of the material for inclusion on the film.

Sacred Bones have already contacted me for material that I was happy to supply.


Twenty odd minutes of Genesis P-Orridge (who in 1981 was still a member of Throbbing Gristle) discussing the history of his relationship with William Burroughs as well as discussing the ‘Nothing Here But The Recordings’ album released Industrial Records.

There are some snippets of the recording plus Burroughs explaining a little about Hasan-i Sabbah, the ‘Old Man of the Hills’, drinker and sharer of hashish, founder and leader of ‘Ashishin’, the ‘Holy Killers of Islam’.

I do not know any more about this recording that has laid dormant on an old cassette tape that I just unearthed.

I do not know who the interviewer was who was speaking to Genesis P-Orridge, or the reason for the interview, and whether the interview might have ended up in print, visual or audio media.

Perhaps someone will step up and fill those gaps.

The visuals which accompany this post are just scanned from the book, Re-Search 4/5 which was first published in 1982.

Included within the pages are William Burroughs, Brion Gysin and Throbbing Gristle discussing advanced ideas involving the social control process, creativity and the future.

Also within the book are interviews, scarce fiction and essays.

This book is a manual of prophetic ideas and insights.

If you see a copy you should grab it double quick.

Side 1

Side 2

Uploaded tonight the debut 12″ single release by Current 93 recorded in 1983 but released in 1984.

Appearing with David Tibet are Coil’s John Balance and 23 Skidoo’s Fritz Haaman.

The inclusion of Fritz Haaman on these recordings make me think that the tracks appearing on this Current 93 12″ single would have fitted quite nicely onto 23 Skidoos’s ‘The Culling Is Coming’ album!

The first two Current 93 album’s ‘Nature Unveiled’ and ‘Dogs Blood Rising’, both released on L.A.Y.L.A.H records are classics of the industrial/goth/deathrock genre and are well worth trying to get hold of if you have the £££ to spare for a secondhand copy of the original pressings. They have both been repressed on Durtro Records so there might be versions that will set you back a little less £££.

Although I apprieciate the early releases released on L.A.Y.L.A.H Records, I personally feel that the work Current 93 has completed in the last twenty years or so is the absolute pinnacle in their long career.

‘Pretty Little Horses’, ‘Halo’, ‘Black Ships Ate The Sky’, ‘The Inmost Light (Pretty Little Horses trilogy)’ and ‘Aleph At Hallucinatory Mountain’ (all released on Tibets’ Dutro record label) are among my favorite albums of the last twenty years.

The text below ripped off of Wiki Pear Dear.

Current 93 are an eclectic British experimental music group, working since the early 1980s in folk-based musical forms. The band was founded in 1982 by David Tibet (né David Michael Bunting, renamed ‘Tibet’ by Genesis P-Orridge sometime prior to forming the group).

With a glut of industrial-pop hybrids on the market in the 1980s, several bands stayed true to the experimental nature of early industrial music. The Psychic TV axis alone spawned many creative artists, including Current 93’s David Tibet, who blends Gothic chanting and haunting atmospherics with industrial noisescapes courtesy of tape loops and synthesizers.

Tibet has been the only constant in the group, though Steven Stapleton (of Nurse with Wound) has appeared on nearly every Current 93 release. A favor which David Tibet returns by working with Stapleton on most projects by Nurse with Wound.

Michael Cashmore has also been a constant contributor since Thunder Perfect Mind. Douglas Pearce of Death In June has played on well over a dozen Current 93 releases, and Steve Ignorant of Crass (using the name Stephen Intelligent), ex-Psychic TV compatriot John Balance (more famous for his work with Peter Christopherson in Coil), Boyd Rice, runeologist Freya Aswynn, Nick Cave, Fritz Haaman, formerly of 23 Skidoo, Björk, Andrew W.K., Will Oldham, Ben Chasny, Rose McDowall, Tiny Tim, Tony Wakeford of Sol Invictus, Marc Almond and Ian Read of Fire and Ice have also lent their talents over the years. Tibet is also fond of the works of American writer Thomas Ligotti, and invited him to collaborate with Current 93.

The trio of Tibet, Balance, and Haaman debuted in 1983 by recording the 12″ single ‘Lashtah’ for L.A.Y.L.A.H Records. Until the end of the ’80s, Tibet — utilizing the various lineups — recorded at a frenetic pace, issuing more than two albums per year for both L.A.Y.L.A.H and the Maldoror label.

Current 93 have released some twenty albums, and many singles, as well as having been a guest on many of the above listed artists’ records, and others’ such as Nature and Organisation and The Hafler Trio.

Much of Current 93’s early work was similar to late 1970s and early 1980s industrial music: abrasive tape loops, droning synthesizer noises and Tibet’s distorted, excoriating vocals. This early work became influential with the goth scene. Later works found Tibet mostly casting off such trappings in favor of a more organic sound, labeled by some as “apocalyptic folk” music, occasionally featuring his sinister nursery rhyme-influenced singing and primarily acoustic folk-styled music.

Tibet’s lyrics have been fairly consistent, regardless of delivery: The earlier recordings reflect his preoccupation with death, Christ, mysticism, Aleister Crowley (Tibet borrowed the term “93 Current” from Crowley – the 93 Current being the current of Thelema or Agape), Tibetan Buddhism, Gnosticism, runes, swastikas, Noddy, The Wicker Man, and a variety of occult notions.

The later to present-day period of Current 93’s recordings increasingly reflect Tibet’s interest in Christian mysticism. Tibet has stated that he now identifies as a Christian.

Side 1

Side 2

The debut 12″ record by ex-Psychic TV members, Peter Christopherson and John Balance released on the wonderful L.A.Y.L.A.H record label from Belgium.

‘How To Destroy Angels’ subtitled ‘Ritual Music For The Accumulation Of Male Sexual Energy’ is a haunting soundscape lasting around seventeen minutes.

Most of the audio is quiet but some louder parts come into the recording so do not turn your volume up too much…

The B-side of this record has not got a Coil track on it as such, although the labels on the record do give this side a title, ‘Absolute Elsewhere’.

This ‘track’ is a continuous looped ‘bleep’ that runs for around fifteen minutes.

I recording only twenty seconds out of the fifteen minutes playing length for obvious reasons.

This track is not meant to be played. It was just a gimmick for this pressing of the 12″ single. There are other versions of this 12″ single with other styles of B-side.

Coil was conceived by John Balance in 1982 as a concurrent project with Psychic TV, with whom he was working, playing bass guitar, vibes and various Tibetan instruments.

In 1984 he began concentrating full time on Coil together with the co-founder of Psychic TV, Peter ‘Sleazy’ Christopherson.

In addition to his role in TG and Psychic TV, Christopherson was also a member of the Hipgnosis design group who executed covers for many ‘supergroups’ of the seventies, including Led Zeppelin, Yes and Pink Floyd.

John Balance has previously worked with David Tibet and Fritz Haaman in Current 93 and Zos Kia.

On the Coil album Scatology, they are variously joined by Clint Ruin and Gavin Friday of Virgin Prunes.

Coil have also written the soundtrack to the feature film The Angelic Conversation, directed by Derek Jarman, while the video for their version of Tainted Love is on permanent display at The Museum Of Modern Art in New York.

What is Coil?

Sleazy: Loosely, it’s what we do musically. We do other things apart from music but it is the term for our musical experiments. Although it’s basically me and John, we do get other people to help as well. In that way, I suppose it’s like Psychic TV regarding the set-up and collaborative aspects. Coil is also a code. A hidden universal. A key for which the whole does not exist, a spell, a spiral. A serpents SHt around a female cycle. A whirlwind in a double helix. Electricity and elementals, atonal noise and brutal poetry. A vehicle for obsessions. Kabbulah and Khaus. Thanatos and Thelema. Archangels and Antichrists. Truth and Deliberation. Traps and disorientation. Infantile, inbuilt disobedience.

Where is the term Coil derived from?

J Balance: I chose it on instinct and since then I’ve found that it actually means a noise. And there are things like the spiral, the electrical coil and contraception. The spiral is a repeating micro/macrocosmic form. From DNA to spiral galaxies. A primal symbol. lt’s a nice little word. The Black Sun that we use is a surrealist symbol from Maldoror by Isadore Ducasse. It has ten rays (2×5). Coil are essentially a duo and five is the number of the aeon of Horus – the present time. We have a private mythology completely in tune with symbols and signs of the present aeon. We don’t believe that it should become an important part of our public image – as misinterpretation, and unnecessary and incorrect replication would possibly occur. Silence and secrecy. After all, the image of Horus most appropriate to the new aeon is of a ‘conquering child’ with his finger to his lips – the sign of silence.

Were the angels symbolic of a larger concept on ‘How to Destroy Angels’?

Sleazy: All of what we do is symbolic on several different levels at once, so you can interpret angels as being a number of things, whether it’s the controlling influence of the church, or whether it’s an unnecessary desire to retain virginity.

J Balance: When I thought of the title, all these things went through me. It was a record to accumulate enough power to destroy theoretical angels – Christian gossamer angels don’t seem hard to destroy. It was a curious matter of fact title, almost like a manual a handbook you’d come across which could be the key to immense power and change.

7″ single side 1

7″ single side 2

A Blue Midnight 7″ single side 1

A Blue Midnight 7″ single side 2

JB was a former NME journalist, who had dropped out of that organs employment to become a roadie for Here & Now. I had met him a few times at Woodstock Grove and liked him for his enthusiasm for bizarre projects, and dedication to the art of not conforming.

JB was the only person I’d ever met who could smoke forty a day of other people’s cigarettes without them minding.

Tragically his jewels of inspiration, and the energy with which he was able to expound them, were pitted against an almost overwhelming lack of personal organisation, and a breathtaking command of leisure that caused him even to put off procrastination until tomorrow. While the rest of us were merely idle, JB idled for England – or would have if he could have gotten round to it.

The advent of The Entire Cosmos provided us both with a tenuous foothold on the second Weird Tales tour.

The first rehearsal of The Entire Cosmos took place at Here & Now’s farmhouse in Buckinghamshire, where isolation from near neighbours allowed them to use a large outhouse as a permanent rehearsal space. The original line-up of the band was JB, vocals and most of the songwriting, Gregor, my fellow vagrant, bass, Gary ‘from Newcastle’, guitar, myself on drums and Gavin Da Blitz on synthesiser and keyboards.

After a few rehearsals we had a handful of JB’s eccentric songs prepared, which we augmented with a couple of Gregor’s, and an infinite repertoire of cosmic jams, over which JB would recite strange science-fantasy stories.

We soon felt that we were ready to unleash ourselves on the public, and with Weird Tales Two in the offing, we badgered the hierarchy for support slots. This time they had their own bus, a huge green piece of vintage army-surplus, with an unquenchable thirst. Once again there were no spare berths, but it was agreed that we could make our own way to some of the gigs and do a short set if there was time. We were accorded a low priority, however, and warned that our set would be the first to be cut if things were running late.

Joining The Entire Cosmos was not in any way a trip to the stars, but it did get me out of the obscurity and into the wider realms offered by Weird Tales, which was taking its bands to all kinds of exotic places like Manchester, and Scunthorpe, and even Bishops Stortford.

After the tour – while being driven home from High Wycombe in someone’s car – Gary and Gregor fell out massively, to our intense discomfiture, over a point of ego. While Gary threatened to punch Gregor’s lights out and Gregor vowed he would break Gary’s fingers, JB endeavoured vainly to mediate and I pretended to be asleep. Gary won the toss. Gregor left the band.

Grant Showbiz replaced him. Grant was formerly the sound engineer on Here & Now’s free tours, and had latterly put the experience and the contacts to more profitable use mixing The Fall. We did a few dates, with him playing, around West London, notably at The Raindrop Club, which was the silly name superimposed onto a squatted pub called The Trafalgar, that has provided the backdrop to more photo sessions than even The Clash could pose for, and in a park near Portobello called Meanwhile Gardens, which was the venue for miniature music festivals on a few Saturdays throughout the summer.

My first appearance on record found me plodding through a lengthy instrumental passage at the end of JB’s epic dirge ‘Looking For You’. The song is great. The drumming was terrible. We had contributed one song to a four-track compilation EP, which featured several of West London’s finest from the squat scene around Latimer Road – also known as the free state of Frestonia.

Fortunately for me all known copies of this record were destroyed by government order in a bizarre freak purge in the mid-eighties, so no evidence remains to haunt me. Far less gruesome was the first demo we recorded out in Buckinghamshire, as it included a couple of JB’s best songs, and the drumming was slightly better, but the crowning moment in the band’s short history was the two night stand we did supporting Here & Now at the Fforde Green Hotel in Leeds.

Joseph Porter

‘By jingo what a top EP that is. The Crumbs track was recorded at Quest studio in Luton. We did a few numbers that day and contradicting my diktat of the day (no drinking as we were paying good folding money for this) we got lagged in the pub.
If I remember rightly Grant was having a good fiddle with the sliders as was Mick Sinclair. The Voletones were like our Jeykle and Hyde. Mac (Colonel Spanker) and Dick (Deadly Earnest) were 50 per cent Crumbs / 50 per cent Voles.

Vince Pie

Blue Midnight included in their ranks Grant Showbiz, live and studio engineer at Meanwhile Gardens, many free festivals and at Street Level recording studios. Mark Perry from Alternative TV and Anno from later line ups of Alternative TV / The Good Missonaries, Justin Adams, later of The Impossible Dreamers and Andy, several years later joining up with Joseph Porter in Blyth Power.

Side 1

Side 2

One of the bands I saw perform numerous times throughout the 1980’s. In fact I think the band from ‘those days’ that I saw perform the most through varying line up changes.

This cassette tape and the ‘Ballet Dance’ 7″ single were firm favorites some decades ago, and are still a decent listen today.

The booklet that accompanied the cassette tape is scanned and added to the audio for this YT post.

Rubella Ballet formed towards the end of 1979 by former Fatal Microbes members (without Honey Bane who by this time had a started concentrating on a solo career care of Jimmy Pursey). Pete Fender on guitar, Gem Stone and ‘It’ (Quentin North) both on bass. These ex Microbes were joined by the drummer Sid Ation who would shortly also be drumming with Flux Of Pink Indians for a short while, and vocalists Annie Anxiety and Womble.

The bands first performance was when they took to the stage for a short set at a Crass and Poison Girls concert at The Conway Hall in Red Lion Square, London. They had originally been called Rubella Babies for this event. Rubella Ballet soon ended up the preferred name for the band. The original line up of Rubella Ballet with Annie Anxiety performed just a few times in and around London carrying on with chaotic stage shows, swapping instruments and even letting members of the crowd perform on stage with them.

Annie, Womble and ‘It’ were involved only initially, left and were replaced by vocalist Zillah Minx, who had at that time of the first Rubella Ballets gigs recently started a relationship with Sid.

Pete Fender and Gem Stone are the son and daughter of Poison Girls singer Vi Subversa, so Rubella Ballet used Poison Girls equipment to jam and write songs and also had full use of the recording studio and practice area underneath the house the band and children shared in Leytonstone (along with Sid and Zillah). This is course was a major advantage in any young bands career, not having the need to save up for weeks to get a substandard guitar or sessions in the studio.

The first ‘proper’ gig with Zilla and Gem in the band was a fundraiser at the Theatre Royal in Stratford supporting the Poison Girls, which ended up in a riot, when West Ham affliated skinheads caused trouble fighting with the police.

Rubella Ballet performed frequently from this point on, many times supporting Poison Girls, Crass and Conflict. Many venues were visited including the Wapping Autonomy Centre and The Centro Iberico in Westbourne Park.

The band were best known for wearing homemade brightly coloured dayglo clothes on stage at these gigs, to differentiate themselves from the other anarcho-punk bands who tended to wear black, ‘army-surplus’ clothing. The colourful garb is a styling that has carried on throughout the whole of the band’s career.

The band released one album on cassette tape with the addition of Andy Smith on guitar, entitled ‘Ballet Bag’ and following that, a four track 7″ EP entitled ‘Ballet Dance’ both in 1982 and both for Poison Girls’ Xntrix Records.

The band had rejected the opportunity to put out a record on the Crass label a year or so before due to the packaging being genric Crass style black / grey / white which did not suit the band whatsoever. The session for the cassette was recorded at Forest Studios and engineered by Alex Foulcer and the session for the 7″ single was produced by Richard Famous of the Poison Girls and engineered by Pete Fender in the studio underneath the Poison Girls house in Leytonstone.

Adrian Thrills, reviewing the single in the NME stated “the Ballet have an appealing sharp edge to their claustrophobic punk thrash, a poppy surge and even a discernible funk readjustment…of course, they could always just be taking the piss”.

Moving Hearts – No Time For Love – 1981 / The Mob – Cry Of The Morning – 1983

Moving Hearts – No Time For Love – 1981

The Mob – Cry Of The Morning – 1983

Moving Hearts were formed in 1981 by Dónal Lunny and Christy Moore of Planxty, both wanting to explore the possibilities of linking contemporary music to Irish traditional music.

The band expanded the line up and by the recording of the debut album had nine members.

“This was an exciting time. Donal and I agreed to work together and our next port of call was with Declan Sinnott who volunteered immediately. Then we gradually expanded. Richie Buckley played one gig in Kilkenny, Bill “Riverdance” Whelan left after one rehearsal citing political differences. Tommy Moore came and left to join Paul Brady.

One by one we slowly assembled. Brian Calnan came from Cork to sit in the traps, Eoghan O’Neill ran out of Tipperary to drive hot bass up our spines, Keith Donald came down from the mountain blowing cool air through his reed, Davy left the camps and got up on the amps – the collective was completed by Matt Kelleghan, George and Cyril and we were ready to roll”.

Christy Moore

The Moving Hearts self titled album had several political songs upon it. Songs concerning the ‘Troubles’. Songs like ‘Irish Ways And Irish Laws’ and the song I have uploaded this evening; the protest song; ‘No Time For Love’.

‘No Time For Love’ is actually a cover version of a 1979 song by Jack Warshaw, an American folk singer strongly influenced by Pete and Peggy Seeger, The Weavers and Ewan MacColl. By 1979 Jack Warshaw had been in England for fifteen years promoting low key folk nights and supporting Anti Vietnam, Chile Solidarity and Anti Apartheid musicians, and events.

“You call it the law, we call it apartheid internment conscription partition and silence
It’s a law that they make to keep up you and me where they think we belong
They hide behind steel and bullets-proof glass, machine guns and spies
And they tell us who suffered the teargas and torture that we’re in the wrong

No time for love if they come in the morning
No time to show tears or for fears in the morning
No time for goodbye no time to ask why
And the sound of the sirens the cry of the morning

They suffered the torture they rotted in cells went crazy wrote letters and died
The limits of the pain they endured but the loneliness got them instead
And the courts gave them justice, as justice is given by well-mannered thugs
Sometimes they fought for the will who survive more times they just wished they were dead

No time for love if they come in the morning
No time to show tears or for fears in the morning
No time for goodbye no time to ask why
And the sound of the sirens the cry of the morning

They took away Sacho, Vanzetti, Connoly and Pearse in their time
They came for Newton and Seal, Bobby Sands and some of his friends
In Boston, Chicago, Saigon, Santiago, Warsaw and Belfast
And places that never make headlines the list never ends

No time for love if they come in the morning
No time to show tears or for fears in the morning
No time for goodbye no time to ask why
And the sound of the sirens the cry of the morning

The boys in blue are only a few of the everyday cops on their beat
The C. I. D. branch-men, informers and spies do their jobs just as well
Behind them the man who tap phones take photos, program computers and files
And the man who tells them when to come and take you to your cell

No time for love if they come in the morning
No time to show tears or for fears in the morning
No time for goodbye no time to ask why
And the sound of the sirens the cry of the morning

They tell us that here we are free to live our lives as well as we please
To march, to write and to sing so long as we do it alone
But say it or do it with comrades united and strong
And they’ll take you for a long rest with walls and barbed wire for your home

No time for love if they come in the morning
No time to show tears or for fears in the morning
No time for goodbye no time to ask why
And the sound of the sirens the cry of the morning

So come all you people who give to your sister and brothers the will to fight on
They say you can get used to this war, that doesn’t mean that this war isn’t on
The fish need the sea to survive just like your comrades need you
And the death squad can only get through to them if first they can get through to you

No time for love if they come in the morning
No time to show tears or for fears in the morning
No time for goodbye no time to ask why
And the sound of the sirens the cry of the morning”

It took Christy Moore’s Moving Hearts to deliver the song ‘No Time For Love’ to a larger audience, and I assume that members of The Mob were listening at some point in the early 1980’s.

‘Cry Of The Morning’, a song by The Mob, adapts the chorus from ‘No Time For Love’, and although the Moving Hearts version of the song, deals directly with the Northern Ireland Troubles, The Mob’s ‘Cry Of The Morning’ is less specific, hints at the same scenario of law enforcement breaking down doors for non specific arrests. Possibly for drugs, squat evictions, muscling known protest agitators and the peace convoy, and so on.

I might be wrong on all of that of course, but The Mob’s version certainly does not have a Long Kesh angle.

“No time for love if they come in the morning
No time to show fear or for tears in the morning
No time for goodbyes, no time to ask why
And the wail of the siren is the cry of the morning

No time for hate if they come in the morning
No time, young mothers, for mourning
No time for turning or running away
Of the crying young babies in the morning

No time to fight back if they come in the morning
No time for withdrawal or for hiding
No time for reflection of lost dreams and hopes
And the wail of the siren is the cry of the morning
And the wail of the siren is the cry”

The images that accompany the Moving Hearts part of this post are photographs from Derry taken by Don McCullin in 1971.

The images that accompany The Mob’s part of this post, are two pieces of artwork by Wilf who designed all of the sleeve artwork for The Mob and other West Country bands like The Review and Thatcher On Acid.

The original police line with girl artwork is from Joanne’s collection.

The peace punk couple under a tent is from my collection, and was to be used for the cover artwork for the reissued ‘Crying Again’ 12″ single released on All The Madmen Records in 1986.

Here And Now – Peel Session – 1978 / Brigandage – F.O Cassettes – 1984 / The Apostles – Recession Club – 1983 / The Tenant – Tenant Records – 1979 / Psychic T.V – Face Interview – 1983 / Astronauts – Blyth Power – St Albans Crypt – 1985


Just prior to the start of another free tour in 1978, Here And Now recorded a John Peel radio session following a chance encounter with him at an open air gig at Meanwhile Gardens.

The Peel session captures the essence of Here And Now well.

Two songs are from the ‘Give And Take’ album and the ‘space punk’ style is much more in evidence than on the ‘Floating Anarchy’ album, yet the importance of trying to capture the moment meant that two of the tracks were jammed ‘there and then’ in the Maida Vale studios.

Much to the surprise of the BBC engineers!

Jonathan Barnett – Weird Tales, and roadie for Here And Now and Zounds.

On 7th June 1977, Sex Pistols took a trip down the Thames, manufacturing much media outrage in their wake.

On the same day, Here And Now played a Jubilee Street Party at Bristol Gardens. Bristol Gardens was a squatted street near to Warwick Avenue tube station, one of a network of similar squats which had grown up across London as part of the radical counter culture.

Squatting communities grew up all over London at Bristol Gardens, Charrington Street in Kings Cross, Tolmers Village in Euston, Longfellow Road in Walthamstow, and many other places. A few similar communities occurred outside the capital, too. There were communities in Hebden Bridge, Bristol, Brighton, Norwich, and many other towns across the country.

Each squat was different depending on its size, the conditions of the property, the amount of security, and the people attracted to them. Some were made up of people from predominantly middle class backgrounds; others were almost exclusively working class. Some, like Prince of Wales Crescent in Kentish Town, shared a hippy ideology which never truly “adapted to overcome social or political problems.”

And they all invariably changed rapidly, responding to external and internal pressures. But common to most was a sense of identity seldom found in towns. People had a sense of living somewhere special, symbolised by the street carnivals and parties which became a regular feature of squatting life. For some people, albeit only a small minority of squatters, squatting began to be more than simply finding a roof. It became fun; it offered new freedoms, a sense of community. Squatting was almost a way of life in its own right.

Listening to the relaxed atmosphere of Here And Now’s 30 minute long ‘Now’s The Time To Live’ in contrast to the frenetic sounds Sex Pistols were making that same day brings out the sheer surreal strangeness of it all.

Now we know that Here And Now would tour with the punk band Alternative TV the next year in 1978, and later with The Mob, Zounds and Androids Of Mu. But on 7th June 1977, how far apart were the worlds represented by the two simultaneous events?

Well one was a high profile media spectacle, which has been sampled and repeated to the point of recuperation, a set of sounds and images locked into all subsequent popular reproductions of the Jubilee and thus the Sex Pistols have become part of the mystique of monarchy. As if saying “Here are all these quaintly revolting punks being rude to the Queen but punk has come and gone and she still reigns over us”.

The other, was not.

When Here And Now played at Bristol Gardens, the event was so far underground it has taken thirty nine years to surface. Does this mean Here And Now were more subversive than Sex Pistols?

If there is a cultural / political unconscious (see Frederick Jameson:’ The Political Unconscious: Narrative as a Socially Symbolic Act’ from 1981) the answer is YES. And although Kenneth Grant (Outer Head of the Typhonian O.T.O) would substitute subconscious for unconscious; since Grant argues that nothing is truly unconscious, in the unlikely event that he would ever consider such a question, he would also agree.

It is the squatting that makes the difference. In the book ‘Capital Vol. I’, chapter 27, ‘Expropriation Of The Agricultural Population From The Land’, by Karl Marx, Marx advocates squatting as the most effective method whereby the urban industrial proletarian descendants of an agricultural workforce driven off the land and into cities by enforced enclosure can overcome the alienation of people from the land and the resulting fetish-isation land ownership, still embodied in the figure of the monarch as feudal owner (by divine right) of all land across the country.

Here And Now were based in squats at nearby Latimer Road and Stoneleigh Street in the Notting Hill area, and at Grosvenor Road in Twickenham.

Thus on 7th June 1977, Here And Now and the Bristol Garden party were actually more subversive than Sex Pistols and their boat trip in the media spotlight along the Thames.

Al Puppy – Kill Your Pet Puppy.



A handful of bands seem to have been connected with Kill Your Pet Puppy fanzine by forces so strong that one finds it hard to imagine one without the other. Adam And The Antz, The Mob, Blood And Roses, Sex Gang Children, Southern Death Cult and Brigandage are examples that I can think of.

Quite obviously these bands would have existed without the fanzine, but a bond, I feel, did exist. The U.K Subs, Crass or The Ruts, fine bands as they were, could not, I feel, get such a strong bond, or indeed any, with the fanzine.

I suppose it probably helped that some of these bands above also had a history of sharing squatted houses, drugs, gig experiences in similar venues, hairspray, magick and (maybe) even boy/girl friends with the Puppy Collective of the day.

Brigandage were one of the fine bands that I first heard on the John Peel show. The session the band recorded was so good that nothing, I thought at the time, could ever touch it.

I saw the band live and they were great, but then they split up!

The band were quickly resurrected in 1984 with the help of Richard North (who wrote and edited the excellent Kick fanzine and also did reviews, essays and interviews for the N.M.E) and two other members, joining Michelle from the original line up, the band that recorded the tracks on this tape.

Step back to 1983; Richard North was already a friend of Michelle Brigandage and of the Puppy Collective, and it turned out to be a decent year to have a journo friend onside, as an article was written up on this newly named ‘Positive Punk’ movement which commanded a front page and center spread in the N.M.E.

Featured in this article were Blood And Roses, and several other bands were name checked throughout the article, Southern Death Cult, The Mob and so on.

Shortly after The Face magazine got involved in the rush to feature the movement, slipped into the glossy pages of the magazine. Even Michael Moorcock set up his TV cameras and got busy filming both Blood And Roses and Brigandage at the Tribe Club in Leicester Square, filming at Puppy Mansions in Hampstead, and interviews with members of Brigandage and Blood And Roses…

What happened?


The band’s at the forefront of this little scene split up by the end of 1983, including of course, as previously mentioned, Brigandage themselves.

There were not a lot of bands to replace the disbanded groups like The Mob, Southern Death Cult and Blood And Roses, that were of the same quality to carry this small scene on effectively, but the ‘Positive Punk’ movement left in it’s wake some great live experiences, some great records and tapes, and some obscure literature in a few magazines including of course the Kill Your Pet Puppy fanzine.

Brigandage were really great.

This tape is a mixture of live and demo material recorded and released in 1984 that rocks on with just enough 1976 punk spirit to overtake the opposition by several yards…

The name of the cassette tape, F.Y.M (Fuck Your Mother) was actually a name that was considered for Tony D’s new fanzine. Kill Your Pet Puppy was chosen instead! The last track on this cassette tape, a blistering version of ‘Ripped And Torn’ was the name of Tony D’s first fanzine spanning the years 1976 until 1979!

The visuals in this YouTube post include the pages of the booklet that accompanied this cassette tape.


This recording was the first time The Apostles performed at the Recession Club, with the Nocturnal Emissions.

The Apostles performance is in the most part an industrial freeform workout that has a wonderful non-industrial climax, just after the seventeen minute mark. Andy Martin, giving a very moving and respectful rendition of Simon and Garfunkel’s ‘I Am A Rock’ which goes seamlessly straight into ‘Splitting In Two’, the old Alternative T.V anthem.

John Eden writes:

The Recession Club was organised by The Apostles and Larry Peterson between April 1983 to January 1984. The hall was attached to the recording studio used by The Apostles who were responsible for the hire of it and the equipment while Larry Peterson was responsible for the bands who actually played there.

An amusing facet of The Recession Club was that the members of the audience were often better known than the bands booked to perform there!

Those who did play have either disappeared into obscurity or are now very famous indeed: The Apostles, The Nocturnal Emissions, Attrition, Coil, The Unkommuniti, Peter North, The Invisible Band, New 7th Music, Hagar The Womb, In The Nursery, The June Brides, Pus, Napalm Death, Verbal Warning, Bet Lynch, The Replacement Headz, The Paramedic Squad, Youth In Asia. Condom and a variety of poets, performance artists and other industrial / electronic groups.

There were no events other than live music and most of the bands who played were not punk bands, largely due to Andy Martin’s impatience with and ambivalence towards such people who he considered to have become passe and to have outlived what little usefulness they ever had.

Andy Martin writes:

The industrial music scene had taken over and it was here that the original punk spirit had begun to grow and mutate into some huge, many tentacled bat often beautifully subtle intelligence network only occasionally marred by poseurs and butterfly collectors.

The level of commitment on our behalf in respect of The Recession Club was severe as our assembled crew of helpers consisted purely of three or four friends of Dave’s, since I’d done a pretty thorough job in eradicating the few friends I ever had.

This was the place I threatened to throw out two thugs of dubious merit unless they paid their entrance fees like everyone else, told them that neo-nazis weren’t welcome anyway and then found out later that they were Tony Wakeford and Doug Pierce of Death In June.

You see? I should have thrown them out for that reason alone.

I also met a couple of spoilt, middle class brats who went under the moniker of Bourbonese Qualk and was supremely satisfied to have upset their delicate egotism with my suggestion that perhaps they weren’t good-enough to play at our little venue.

We had Sleazy Christopherson there in his capacity as audience member whom everyone recognizes but no-one actually talks to because they’ve seen him on the Throbbing Gristle covers and wish to retain their awe and idolatry.


I chatted to him briefly, he was obviously far too decent, honest and interesting a human being so be involved in Psychic TV and it’s no wonder he left.



Crisis anyone?

I have gone through decades knowing sod all about this record.

I thought I would check the internet, zilch on there.

The band sounds like they had been influenced heavily by Crisis, or indeed Wire, it definitely sounds like an English vocalist chanting away quite happily, the rest of the band, who knows? Wire’s ‘Being Sucked In Again’ comes to mind on the first song off of this 7″ record and the first song on this YT post.

I placed the record up on the Kill Your Pet Puppy blog in 2009 and eventually a couple of years later I got a snippet of information.

The Tenant was an NYC-based band that recorded only this one single in 1979. The band consisted of Robert Appleton, vocals (ex-Gynecologists) Raphael Rubinstein, guitar Ursula Kinzel, guitar, Terry Berne, drums. The band was formed in the winter of 1978. They rehearsed in a loft on the corner of Greenwich and Canal streets which at the time was a squat inhabited by various denizens of the downtown scene. The space was also used by other bands and musicians, including members of the Heartbreakers. The band’s lyrics were written by lead singer Robert Appleton, and the songs were composed and developed by the band as a whole. Their repertoire consisted of some seven songs before they broke up in the spring of 1979 following their only performance at CBGBs. They recorded all seven songs at an independent studio in Brooklyn, though only ‘Manifestation Of Your Sickness’ and ‘TV Parmaceuticals’ were released. The single appeared in various downtown record stores and spent a few weeks on the jukebox at Max’s Kansas City. The master tape containing all the band’s songs has been lost, but some unplayed copies of the single remain in the hands of band members.

T Berne 2011

Thank you to that guy for leaving the comment on the Kill Your Pet Puppy blog.



As it says on the tin, around ninety minutes of laid back chatter from Genesis P-Orridge, Geoff Rushton and Paula P-Orridge recorded at Psychic TV’s Beck Road base in Hackney that was meant to be edited into an article for UK’s early 1980’s fashion magazine ‘The Face’. Which it wasn’t!

I added some visuals to this YT post to compliment the conversation. The Psychic skull test card. All pages from the ‘Personal Message From The T.O.P.Y’ handout. A rare magazine article on P.T.V / T.O.P.Y (including a picture of Min with Lurch from Yeovil) from a magazine that I forget the name off. These pages were cut out. And artwork of a Hitler-Lucifer-Horn affair.

Fiona the lady who conducted the interview left this message on the KYPP site in 2011 as a reponse to the original KYPP post from 2009.

The answer to Fiona’s question about where the cassette tape originated from. The cassette tape was given to me in Beck Road Hackney.

Hello boys!

Someone just alerted me to the fact that you posted this interview of mine two years ago. Wish I’d known about it then and intrigued to know how you got your hands on it (although I can imagine).

I know this is a bit after the event but I’d like to set the record straight for those who have commented on my 2009 piece in The New Humanist. Due to limited space, the editor had to cut out more incidents and anecdotes I recalled from the days when I knew Gen and Paula, although I preferred Sleazy and Geoff who were charming company despite their little peccadilloes such as inviting one to a very proper English afternoon tea full of witty and stimulating conversation before Sleazy would get up to nail Geoff to a cross and masturbate him (as you do).

God rest their sweet souls.

I met Gen and visited the Beck Road house several times between early 1983 and late 1984 while I was going out with Gen’s pal Mark Manning aka Zodiac Mindwarp and writing for The Face. I must confess I’d forgotten all about the interview you dug up. Now I’ve found my tapes too and it’s all come flooding back. After much courting and pestering by Gen, who was desperate to be in The Face, offering all sorts of incentives and constantly ringing me at my Old Street council flat to discuss “the interview” (annoyingly letting the phone ring off the hook until I was forced to get out of bed only to be told, repeatedly, that he “knew” I would answer the phone “on the 23rd ring”!), I agreed simply to get him off my back.

I knew The Face had no interest in publishing an interview with him as I had already asked but I went through the motions simply to shut him up (recording it just in case someone, somewhere, would be interested). It took twenty six years but you finally came through!

I never wrote a word and didn’t take much of it seriously as I think is fairly clear. I don’t like to disappoint or to say I will do anything if I know I can’t deliver but I had tried my best and there was zero interest at the time by the most influential youth style and music mag in the UK.

However, Gen was so persistent he just wouldn’t take no for an answer. In many ways, Gen reminded me of Aleister Crowley: the same burning ambition, the same compulsion to escape their backgrounds, the same schoolboy obsession with shocking suburbia while simultaneously courting notoriety, the attempts to hide such base desires with discourse, spectacle and flimflammery, an unpleasant habit of latching onto useful people and sucking them dry (in every sense), the uncanny ability to exploit the zeitgeist of the time then later proclaiming themselves to be the originators. Yes, the similarities are unmistakeable, except that Gen – to his infinite sorrow, I suspect – has always lacked the towering intellect, sexual charisma and formidable presence that Crowley naturally had.

I don’t know why Gen behaved like such a tit when I went to interview him before the Bardens Boudoir gig many years later. Maybe it was payback for the-interview-that-never-was from so long ago that you unearthed two years ago?

Who cares?

He’s an odd little man but one thing’s for sure, he’s VERY good value!

All the best, FRP xxx

Read Fiona’s piece on Genesis on her blog HERE



December 1985 was a very good month for Blyth Power gigs.

I witnessed the band’s performances five times, once in Brixton with The Poison Girls.

Once in Stoke Newington with Psychic TV, Zos Kia and The Astronauts.

Once in Tufnell Park with Play Dead.

Once in Welwyn Garden City with Benjamin Zephania and The Astronauts.

And this performance in St Albans, again with The Astronauts…

This gig was the only one that I recorded unfortunately…

I wish I had taken my little cassette recorder to the Stoke Newington gig!

A crystal clear crowd recording of both The Astronauts and Blyth Power sets, both bands performing brilliantly.

All the way through 1985 Blyth Power seemed to be on top form, and towards the end of the year the band seemed even more on the ball.

All the gigs that year seemed like genuine celebrations, and well worth the effort to attend, and I attended a lot of them!

Other bands performing on this night in St Albans were The Shout who I remember as being quite Clash inspired, and Medical Melodies, a band dressed up in white coats sounding a bit like The Cardiacs…

There was a little bit off pushing and shoving at the gig from a couple of angry folk, but nothing too drastic, and a mad dog running around between the feet of the audience, most of whom were jumping around!

The visuals that accompany the audio, include some promotional photographs of The Astronauts and Blyth Power, an original flyer for gigs in November and December across the country.

The bulk of the visuals belong to a not so well known St Albans fanzine that appeared a few months after this gig.

The well known fanzine from St Albans was ‘Mucilage’, which run for several issues throughout the years.

The fanzine featured on this YT post, ‘Black Pig Shits On St Albans’, as far as I know, was the only issue that was printed.

There are contributions from several different folk, just adding whatever those different folk felt like adding.

No ‘party line’ to tow, no pressure to deliver cutting edge political dogma.

Just random essays and poems.

The fanzine is pretty mad really, but all the better for it.

As for my cheap little cassette tape recorder.

That was given to Mark from The Astronauts during a visit to his ramshakled flat in Panshanger near WGC as I had upgraded my technology.

012 – Flicknife Records – 1984 / Weird Noise E.P – Fuck Off Records – 1980 / The Epileptics – Spider Leg Records – 1981 / Ethiopian – Studio One Records – 1980 / Faction – 96 Tapes – 1981 – 1982 / KUKL – Gramm Records – 1983




012 was a band formed by Keith Dobson A.K.A Kif Kif Le Batter (one time drummer and vocalist with Here And Now) in the West London squats in 1980. The band took inspiration from Mutoid Wasters, Dread At The Control and Clash City Rocker types, as well as the free festival convoy scene.
The album was recorded at Street Level Studios in 1981.

“The 012 would like it to be generally known that they have now sold out completely, but will be doing all they can to maintain that urban guerilla pop star image in the future.”

012 went on to become World Domination Enterprises who were involved in a small way during the C86 indie scene, and re-recorded a storming version of ‘Asbestos Lead Asbestos’.

Note: The first time the Kill Your Pet Puppy Collective saw The Mob live, I am informed, was at the gig (the flyer in the video) with 012 also performing. Also interestingly, resident Mob artist Wilf supplied 012 the artwork for the sleeve.

The text below has been lifted from the excellent Quietus website and is a snippet of an interview with Keith Dobson.

In 1979 Dobson formed The 012, a World Domination Enterprises prototype who took the improvisational aesthetics of his former acts and merged them with the punk sensibilities that he admired. The leap was perhaps not so great as it seems.

“There is no real difference between hippy and punk,” he argues. “They were both essentially about youth wising up to the charade of society being played out around them and reacting to it. There is also a lot of the essence of improvisation in World Dom and The 012. That ‘immediacy of the moment’ was something I worked with very consciously, and in a way it was a continuation of what had started in Here & Now. I wanted to take this ‘moment’ thing up to another level. I read Stanislavsky.”

The 012 were never geared for commercial success: their shows were so chaotic that promoters literally pulled the plug on them if they hadn’t already been banned, so they instead rushed stages between acts if they wanted to play. But now firmly ensconced amidst the anti-establishment, Dobson simultaneously started a cassette label — the provocatively named Fuck Off Records — to release ‘albums’ by, among others, Danny And The Dressmakers (who featured one Graham Massey, later of 808 State). Ever restless, he then set up Street Level Studios in 1980, a home from home for many of the DIY bands extant in London at the time, with (former Hear & Now sound man and soon to be Fall associate) Grant Showbiz and 012 drummer Jose Gross. But after two cassette albums, one vinyl album and a line-up change — Steve Jameson now fulfilling the need for “gutter-funk bass”, as Dobson’s Melody Maker ad put it, and drummer Digger Metters not far behind — The 012 became World Domination Enterprises.

They set about recording what would become their finest moment, exploiting Thatcher’s Enterprise Allowance Scheme in order to pay for the six months and the weed required to put a reworked version of the old 012 track ‘Asbestos Lead Asbestos’ down on tape.

Dobson has no qualms about having used government money to fund the band’s beginnings.

“Let’s get something straight here,” he states passionately. “We are born into subjugation. Where is our land? Our birthright? It was taken from us before we even drew our first breath. What we have instead is forced enrollment into some intimidating scheme. And for some strange reason these somebodies who control it are stupidly rich, while us ordinary folk have to scratch and scrape just to get by. It is our right as ordinary humans, maybe even our duty, to get back as much as we can.”

Such arguments are indicative of the rhetoric that surrounded World Domination Enterprises at the time. Growing media interest focussed not only on the visceral, atonal racket that they created but also on their conscious rejection of contemporary Thatcherite values. They were pictured by photographer Tom Sheehan in front of their Chesterton Road short-life housing, reviewed by Simon Reynolds in conjunction with legendary party organisers and industrial waste sculptors Mutoid Waste Company, and much was made of their name. But Dobson denies that they were a political band.

“I’ve never been interested in capital P politics,” he clarifies. “What is true is that I’m a thinker. I spend hours a day just thinking. Anti-establishment? Hell, yes! That’s the natural result from time spent thinking. Our anti-establishment stance was . . . a huge part of what World Dom was about. If you’re gonna have words, why on earth should they not mean something important?

Read the whole article HERE



Each side of this rare debut 7″ single from Fuck Off Records gives a clue to the listener for the material stamped into the grooves of the vinyl.

Side BAD:

012 – Fish From Tahiti
Danny And The Dressmakers – Cathy And Claire
The Sell Outs – Ballad Of Fuck Off Records
Danny And The Dressmakers – The Truth About Unemployment


Door And The Window – Number One Entertainer
Danny And The Dressmakers – Legalise Vimto
Danny And The Dressmakers – Hey Ho My Cholestarol Level Is Low
Instant Automations – Electronic Music
Danny And The Dressmakers – Dont Make Another Bass Guitar Mr Rickenbacker

This is a record so D.I.Y it came with its own Allen key and a badly illustrated sheet of fitting instructions!

All the tracks need to be listened to with an equal amount of irony and awe. Joy and misery.

The tracks are not that bad, but they are hard work!

“The Sell-Outs, The 012, The Door And The Window, and The Instant Automatons recorded at home on 4 track and 2 track tape machines. Danny And the Dressmakers get that unique “Dressmakers white noise” effect with 3rd generation cassette recordings. Gut level rock and roll from 1979. The whole thing got together by Kif Kif, Nag, Bendle and Protag and dedicated to the Steet Level organisation. The Sell-Outs were a band led by Fuck Off Records supremo Jonathan Barnett. The line up on the record is J.B on vocals, Steve Lake of Zounds on detuned bass, Mark Mob of The Mob on detuned guitar and Kif-Kif from the 012 on drums. J.B and Kif-Kif detuned the instruments and asked us to make a random unholy row while Jonathan screamed his lyrics about running a budget record label whilst signing on the dole and trying to exploit (in a very small time way) the resources of larger record companies. The aim, as with most of these things, seemed to be to help bring about the demise of the record industry and there after the whole global capitalist, military industrial complex; to tap into some creative, life/art/spirit force through spontaneity and improvisation; and in the process try to make J.B the star he really should have been. The whole enterprise was doomed sadly. The track was truly awful, though the E.P. it comes from did have some amusing tracks by Danny And The Dressmakers and a good track by the 012. It also contained a track each by the Door & the Window and the Instant Automatons”

Steve Lake – Zounds

Sleeve screen printing courtesy of Joly from Better Badges who printed the original Kill Your Pet Puppy fanzines and thousands of others in that era.



Written memories below, courtesy of Kev Hunter from The Epileptics, ripped off for all the right reasons from site.

The Triad Centre was a great place to see bands and just hang around with other punks from Harlow, including members of the Sods and Newtown Neurotics, and surrounding areas. I asked around and was pointed in Col and Rich’s direction; I went over and said “If you ever need a guitarist, let me know.”

Coincidentally, Clive was about to leave and go to college, so they told me to come along the following Saturday to one of their rehearsals. I did, and I was in!

They had already played two gigs – one at Triad in August, and one at London’s Covent Garden with Crass – but needed new material. Col and I reworked some of the older songs and changed the lyrics and titles, and collaborated on some new material too, such as “Tube Disaster”, and our first gig together was at the beginning of November 1978.

In January 1979 we got the chance to support Crass and the Poison Girls in Bradford, but the van we’d hired broke down on the way, and we reached the gig just as Crass were finishing their set.

In March we recorded our first demo tape and started to attract a small following; thereafter we regularly played at Triad, as well as doing gigs in London’s Conway Hall with Crass.

For a while we changed our name to Epi-X, but then reverted to the Epileptics; our line-up also changed briefly in summer, when Stan Stammers replaced Derek on bass. (Stan would later go on to Theatre of Hate and Spear of Destiny.)

After playing one gig under the pseudonym Acid Experience, with Derek back in, the Epileptics decided to take a break as personality clashes had been surfacing.

In August, we were approached by Stortbeat Records to record a single, and – with a dubious change of name to The Licks – did just that in September.

Having played just one gig as The Licks, the name reverted to the Epileptics again, but by November differences in how we thought the band should go led to Richard deciding to leave; Col and Derek decided to get Sid (from Rubella Ballet) to replace him, and within a week of their decision, I made up my mind to leave too.

Two guitarists were brought in, Andy Smith and Neil Puncher (previously of the U. Samples), and the band continued to play local, London and other gigs – including Stonehenge Festival where they were bottled offstage.

During the middle of 1980 the band changed their name to Flux Of Pink Indians.

Kev Hunter

Verbal memories below, courtesy of Sean ex Eat Shit and God Told Me To Do It.

Ahhhhh, my youth revisited…..

No one except Stortbeat ever called them The Licks.

Derek used to sit on my mate at school to steal his fruit pastilles.

The story of Derek’s bass playing (as related by Colins little brother) was that when the lads decided to form a punk band, big Derek said “I’m not playing bass, bass is a morons instrument” picked up the waiting to be assigned guitar and promptly broke several strings, so bass it was to be. Funnily enough when a bass was acquired for him he immediately broke a string on that too.

Sid of Rubella Ballet passed through the drum slot, as did Discharge skin thumper, Bambi Ellesmere. Stan Stammers was friendly to the young punkers hanging out in Saffron Walden (all three of us, I had school mates there) but Kirk Brandon was above being seen with us kids.

I first saw Crass with The Epileptics at Triad on a Sunday night, it seemed strange to me then that no one made a fuss about bands of local notoriety playing on Sundays. Stortford was quite lively punk-wise, but there was a lot of mod violence early on, mainly by kids who had been punks the year before, the skinheads came later, mostly from Harlow.

That town was a hotbed of NF/BM recruitment (the lyric “I’ve got a target on my back but I’m not a fucking mod” was poignant). On one notable occasion, when Conflict came to the Triad, some skinhead violence was nipped in the bud by Colin Jerwood who promptly smashed his mug of tea over the miscreants head. There was even a short-lived squat in Stortford in a condemned house at Hockerill but the coppers gave short shrift.

So many memories…One of my first girlfriends was from Debden, so “Last bus…” struck a chord. Harlow was punky town, but lots of aforementioned skinhead violence. After a gig at the Square, three of us were chased until lost (easy in Harlow, it all looks the same) and had to take cover in an elderly couples house who offered us refuge and a phone to call mum.

People will tell you these days that they were into the Neurotics, but most in Harlow considered them a bit naff. Steve Drewitt will tell you that I was the only person to sport a big Newtown Neurotics logo on my leather.

Sean Ridgewell



In 1980, Leonard Dillon from arguably one of rocksteady’s finest vocal harmony duos in the sixties, The Ethiopians, returned from a start / stop career in music (from the middle of the seventies after the accidental death of his long time vocal partner, Stephen Taylor) to voice over some of the finest vintage Studio One rhythms.

This is one of my favourite Studio One albums although when released to the public it did not sell in large quantities.

Towards the very end of the seventies, roots reggae music started to lose popularity amongst the youth of Jamaica and in fact the world.

The new sound preferred by the youth being a harsher stripped down, no thrills, no horns, no organ sound pioneered by Roots Radics, Sly and Robbie and others, recording for young producers like Junjo Lawes and Linval Thompson and mixed by the up and coming Scientist, all working with countless young singers and DJ’s.

Studio One Records could not keep up with the times as well as the recording studios like Channel One, who owned the in-house record labels like Hit Bound and Well Charge releasing records by the likes of Barrington Levy, Frankie Paul and Ranking Trevor.

Studio One tried hard to keep up with a couple of Sugar Minott albums as well as albums by Brigadier Jerry and Lone Ranger, but the old time rhythms just sounded too familiar and stale to the youth at the end of the seventies and the dawn of the eighties. .

Despite all that, this Leonard Dillon solo session (under his long standing and well deserved moniker, The Ethiopian) recording new versions of some of his best songs from the late sixties and early seventies at Coxsone Dodds’ Studio One, to my ears at least, is a marriage made in Heaven, if such a place exists.

Below text a snippet of an interview with Leonard Dillon from the reggae-vibes website.

Q: But what about this ‘Everything Crash’ album, this is a very consistent album and one that is highly regarded by Ethiopians fans all over. If the Ethiopians name is dropped somewhere, you often hear talk of that record.

A: Yeah. You see, that album now, I just did that song over for Coxsone and he called the album ‘Everything Crash’.

Q: Most of those tracks were voiced in the same session, or this was compiled stretching over a long period of recordings from the seventies up to the early eighties or something like that?

A: Yes, some of them.

Q: So how come you went back to Downbeat again?

A: Well, because I left the music scene for a while and the easiest way to be heard right now is the Studio One label, so I just went back and did that before I did my album ’cause whenever time you want to be known, yunno, the Studio One label is a label that really expose you. Everyone love Studio One and are familiar with Studio One, everyone rates Studio One. So you don’t really – Coxsone is a man that don’t really pay money, yunno. You don’t do music for Coxsone for money, you do music just for the label’s sake, to really expose you. Because Studio One label go wide, y’know.




Anthrax were formed when they were all school children in Kent. Anthrax would practise in the church hall near to the school. The bassist of Anthrax (Rob Challice) father was the vicar. Rob, Fod and Oskar were also allowed to print their fanzine ‘Enigma’ on the church printer. After several line up changes Sue joined on vocals. Anthrax did thier first gig in Gravesend and after that gig, Rob and Sue left Kent and went on to form Faction.

Around January or Febuary 1982 Ann-Dee Martin from The Apostles, was helping out Faction on guitar along with Sue, Rob and Martin (who wrote Sunday the 7th fanzine) on drums. Ann-Dee Martin was replaced by Paul (who wrote the AZ fanzine) around March 1982, but during the couple of months that Ann-Dee Martin was in the band, Factions first demo was recorded in Ann-Dee’s attic at Foulden Road, Stoke Newington.

That demo tape is great and might be up on this Youtube channel at some point, although tonight I have placed up both the Faction demos that Rob Challice released on his own 96 Tapes imprint (so called as Rob was living at 96 Brougham Road in Hackney at that time).

The first Faction cassette that 96 Tapes released features Sue on vocals, who left shortly after, to be eventually replaced by Mel from the West Country band, The A-Heads.

Mel is the vocalist on the second Faction cassette that 96 Tapes released.

Both of those cassettes are featured on this YouTube post.

I lifted a bullet point history on the band below (and edited a little bit) from the

Rob and the singer Sue (a fourteen year old girl with spiky hair) left Anthrax and relocated to Hackney to form Faction with Sue on vocals, Rob on bass, Martin on drums and Ann-Dee on guitar.

Rob and Martin then moved into a squatted street street in Hackney, Brougham Road, number 96, and used the basement for rehearsals.

Rob had this to say about choosing the name Faction: “I think it was by democratic vote. The name scored quite highly because you could circle the A and N, and convert the O in the CND sign. Essential stuff”.

In the Spring of 1982, their guitarist Ann-Dee Martin, was replaced by Paul Van-Transit (formerly from ‘The Snails’ and ‘This Bitter Lesson’) who would become their permanent guitarist. Rob found inspiration in the Hackney squat scene as it had introduced him to The Mob, Zounds and Blood and Roses, which in turn were bands that were also followed by the Kill Your Pet Puppy fanzine / collective whom also inspired him.

Rob continued by starting his own cassette tape label called 96 Tapes, which helped several bands get their music and message out.

In November 1982, Faction released their ‘Through The WIndow’ cassette tape along with a booklet containing the lyrics and their ideas and philosophies. Shortly after the release of that tape, the band played at the infamous Zig Zag Squat gig in December of that same year.

Unfortunately, Sue left in February 1983, and the band struggled with several new singers until they found Pip.

Faction managed to eventually release a 7″ single with the Bluurg record label run by Dick Lucas of The Subhumans. The record was titled ‘You’ve Got The Fire’.

Before the studio work on the record started, Pip had already left and had been replaced on vocals by Mel from The A-Heads. Neil from Brougham Road was added as a keyboardist.

Two more cassette tapes featuring Faction were released on 96 Tapes, the first was a live split with D & V called ‘No No No Don’t Drop Yer Bombs On Us They Hurt’ and another was a full length tape called ‘If They Give You Ruled Paper…. Write The Other Way’.

By the time the 7″ single was released, Faction had split up. Rob wanted to focus on his cassette tape label, Neil went on to play guitar for Blyth Power alongside Josef Porta and Curtis from The Mob, and Mel was still performing with the A-Heads. Martin and Paul left the scene.

In 1984 the All the Madmen record label was passed down to Rob Challice, 96 Tapes was still operational for a while after, and Wot? Distribution was also created. Wot? shipped hard to get vinyl, cassette tapes and fanzines via mail order to customers over the U.K and other parts of the world. Wot? was eventually re-named All The Madmen Distribution, sitting alongside the record label of the same name.



Fine and very rare debut 7″ single by Bjork’s early punk outfit KUKL released on the excellent Gramm record label based in Iceland.

Recently I checked this 7″ single on Discogs.

This small bit of vinyl with a groove running time of less than seven minutes has been selling for absolutely insane amounts of money.

Between £250 to £500.

I very carefully unwrapped the foldout cover and scanned each panel and then dumped the vinyl onto the scanner and scanned both sides of the label. There was also a handwritten poem that I scanned. I am not sure, but the poem might be the words translated from Icelandic to English for the A-Side, ‘Songull’.

I hope you understand the sacrifices and risks I am prepared to take to get interesting YouTube posts to you. I might have knocked £10 off of the selling price in the few minutes of preparation for the visuals!

Text below lifted lock, stock and barrel from the Southern Studios website. Thanks to them in advance…

Our story begins some years ago when we co-existed in different groups in the very same country.

PEYR was a band that gained a reputation in foreign countries, but when they had had their name spelled in Japanese they tactfully ceased to exist and left God Krist. and Tryggur floating in the Ether waiting to make themselves manifest.

PURRKUR PILLNIKK was another band, never too bothered but quite possibly too concerned. They played with THE FALL in England, then they too ceased to exist and Einar kept spinning around hoping to hit someone.

TAPPI TIKARRASS was still another band. When their charm became stagnant Bjork decided it was time for an evolutionary leap and sent us a bright smile that opened our hearts.

Birgir caressed his bass in a band called MED NOKTUM, but when the call came he knew he had to obey and left his fellow workers in the Vineyard for the Cosmic Unity of KUKL.

And there was one with the name of Melax who had spent his time within the framework of the surrealist group MEDUSA, alternately making phallic Bird Cages and Music for Miro on the Moon. He too heard the call and obeyed.

KUKL thus became the logical conclusion of the Icelandic Musical Evolution. They depict the Marriage of Heaven and Hell: the Union of Opposites, Cold Claustrophobic Winters with the Agoric Midnight Sun of the Summer Months. Snow fused with Vulcanic Activity: A Cold and Calm Outside covering Catastrophic Aliveness that may tear the ground from under your feet.

KUKL will not prostitute itself, the group will play on special occasions only, so as to retain its inspirational quality.

KUKL played at “WE Demand a Future”, a concert with CRASS that had over 2% of the Icelandic population present. And KUKL played with PSYCHIC TV at the legendary concert in Reykjavik. In 1984 KUKL supported FLUX OF PINK INDIANS around England.

As the time is ripe now, KUKL will expand into various parts of Europe and give the Europeans a taste of what KUKL sounds like and what the group stands for.

Our aim is to work for the betterment of humanity through our music. We feel that music is one of the strongest mediums that you can have access to in the Western world as money is not our game we rely on the inherent power of our group.

Our power is what we are and what we do: through listening to us people will become part of the transmission of that particular power, even should they not realize what we are about. Whether we should be considered artists, does not really matter at all.

We leave that problem to those who want to define to understand. – We only want to wake up in people dormant powers which even they did not know existed. Sometimes we even don’t know ourselves what we are doing, as we are still learning. The “magic” has not been intellectualised or consciously assimilated to what we are doing.

Even the name of the group shows this: KUKL, meaning “Psychism” implies dabbling with some unknown forces and we don’t want to get stuck in any definitions as to contents or procedures as that would put an end to our learning process and our transmission. This “something” that we are dealing with is also a thing that we are against defining. We are not preaching convictions as they tend to produce convicts. The only clearly definable thing in our floating philosophy is that there is more to life than THIS. We want to be able to blow a few sparks into a consuming fire, burning away restrictions. A large portion of music in our times is serving us a tool with which people are lulled to sleep while those in charge are steering us towards our doom.

We want and we must catch the attention of those lunatics and show that we want to be reckoned with when it comes to defining the rules for our life and death. Our music is our strongest weapon in that battle, it is also nourishing for us and gives us strength to tackle this devilish problem. But as to the future we don’t have any five-year-plans – although in a sense we feel we have been booked for eternity…

The Mob – Crass Records – 1981 / PEYR – MJOT Records – 1982 / Instant Automations – Deleted Records – 1980 / Androids Of Mu – Fuck Off Records – 1980 / Webcore – A Real Kavoom – 1984 / The Good Missionaries – Unnormality Records – 1980 – 1981


No Doves Fly Here Original mix

I Hear You Laughing Original Mix

Mark Mob remembers; The recording was done over two days in September 1981 at Southern Studios with Penny and John producing and engineering the session.

Various other folk including Crass members were milling around for those days, doing little jobs when needed, like changing leads, moving amps about, and more importantly making copious amounts of strong tea.

I recorded the vocals to both tracks on the second day, one word at a time for the recording. This was quite a change from the previous two releases (‘Crying Again’ and ‘Witch Hunt’ both released on All The Madmen Records) as the vocals on those records were recorded live.

As you can imagine this was rather frustrating and somewhat draining on the spirit, but we assumed Penny and John knew what they were doing so I carried on regardless, and the single turned out well, so good on them for pushing me to record the vocal track in this way.

I choose both the tracks, ‘No Doves’ because it did not sound like any obvious Crass label recording and ‘I Hear You Laughing’ which was a live favorite of the Mobs followers and supporters.

There was no pissing about in the studio, no drug use or anything.

There was though many pots of tea being supplied and I also have a memory of Churchman Counter Shag roll ups being smoked by Penny and The Mob (when offered to us). I believe this tobacco could only be obtained from around the Epping area, so I had never tried it before the session or indeed since.

On the second day, one of the studio hangers on was told to go out and hire a four foot diameter gong, bring it back to the studio and set it up to be recorded for the ‘No Doves’ track.

Most of the band had a go at trying to hit this gong correctly. Spent over an hour getting the gong sound right in the mix.

Whether Josef’s gong sound went onto the final mix is anyone’s guess. It may well have been rerecorded after the band had left the studio!

After over an hour of hearing just a gong sound it all sounded much the same and it could have been any of the recorded takes on the finished recording. Perhaps even my effort.

Around a month or so after the recording sessions I was sent a test pressing of the ‘No Doves’ 7” single.

This version had the gong, the drums, the bass and my vocals. The other track I Hear You Laughing had the baby crying added towards the end of the track.

In the package with the test pressing was a letter from Penny suggesting that more should be done with the recording of ‘No Doves’.

I agreed to let Penny work on the recording in the studio without my or the other members of The Mob’s interference.

I got sent a ‘finished’ copy of the release that would become the only Mob record released on Crass Records and got a bit of a shock when I heard the synths and the choir that had been added to the ‘No Doves’ track.

Josef Porta remembers; As I recall, Penny and Pete Wright were engineering with John Loder.

We were in Southern the day after Alvin Stardust had a recording session there!

The usual Crass approach in the studio was rigidly Stalinist – as I recall bands really had no say in what went on.

Not a bad idea really, as no one can fuck up a recording session like a bunch of musicians.

Mind you, we had a good laugh at the crying babies after we heard it.

We weren’t invited to the mixing, and it was presented to us as a finished recording – I don’t recall there being any ‘what do you think of this’ in the matter, not that it would have been any better for us being there.

I think we did it over two days. There was no fraternizing before or after, we came up on the bus from Hackney and went home again each day. I never went to Dial house with the Mob, and I presume Mark chose the tracks for the single.

I don’t recall it being discussed with Curtis and myself at the time.

Personally, I think the artwork is the best thing about it.

The tracks seemed flat. My drumming is clonky and inappropriate. Curtis’ bass is, as always, superb, but the overall sound is limp and apologetic.

The same I felt with the Zounds effort. I don’t think Penny really knew how to produce electric guitars – I’m not saying I do, but I know a man who does, and you can hear the difference.

The electric guitar is the essential element of any punk record in my personal opinion, and unless it sounds like the Sex Pistols on ‘Holidays in the Sun’ then it’s a waste of time.

Mind you, I’m happy to have been a small part of the whole Crass thing. I thought it was magnificent at the time.

Can’t say it changed my life significantly, but it was an experience not to forget.

Deeply indebted to Gordon.



The third single from this Icelandic band. A 12″ E.P single.

Recorded in 1982, there is a slight Killing Joke feel to the sound on all these tracks, not surprisingly as Jaz Coleman and Geordie from Killing Joke were constant visitors to Iceland at this time, and early supporters of the Icelandic music scene.

Jaz Coleman decided to move to Iceland along with guitarist Geordie, with the ambition of resurrecting the Icelandic rock scene.

While there, Coleman and PEYR, formed a new band originally called Iceland, but later named Niceland.

After rehearsing for weeks Niceland was ready to record five songs in 1983, but two of them were never finished; the three songs recorded were: ‘Guess Again’, ‘Catalyst’ and ‘Take What’s Mine’.

But as PEYR decided to write their own songs, Jaz moved away and returned to England to reestablish Killing Joke.

The songs recorded by Niceland remain unpublished.

PEYR, toured Scandinavia.

With the tour, the band gained more popularity and even managed to appear on radio and television in Denmark, they also went to a studio and recorded a few songs which were released on the 12″ E.P single, ‘The Fourth Reich’, in memory of Wilhelm Reich whose books had been banned by the Nazi regime.

The sleeve depicts Wilhelm Reich, a psychiatrist, psycho-analyst and writer, who was labelled a Communist Jew by the Nazi Party, so he escaped from Germany in 1934 to settle briefly in Scandinavia.

During the Nazi period of German history all of Wilhelm Reich’s books were destroyed, and subsequently banned. The writer made it to the U.S. in 1939.

In 1947, following a series of critical articles about orgone in The New Republic and Harper’s, the U.S. Food and Drug Administration (F.D.A) began an investigation into his claims, and won an injunction against the interstate sale of orgone accumulators.

Charged with contempt of court for violating the injunction, Reich conducted his own defense, which involved sending the judge all his books to read. He was sentenced to two years in prison, and in August 1956, several tons of his publications were burned by the F.D.A.

He died of heart failure in jail just over a year later, days before he was due to apply for parole.

It must be noted that the PEYR sleeve artwork has not got a swastika on it. The armband shown on the cover contained the symbol of the orgone physics, which represented duality and its origins in unity, referred by Reich as functionalism.

On ‘The Fourth Reich’ the use of percussion and rhythmical efforts were far more important than in earlier works. In this respect, the song “Zen” was particularly important due to its marked rock style, but did not have the impact of earlier works because the music was less accessible.

The Icelandic version of this E.P was released by label MJOT which had been created by Magnus from PEYR.

PEYR had two albums and a handful of singles released during the band’s lifetime, these of course are no longer available.

All early Icelandic singles are very rare, this 12″ E.P single being no exception.

Two of the members, eventually formed KUKL with Bjork towards the end of 1983.



Although Punk inspired us, we were never a punk band. In fact, I was openly suspicious of the punk movement at first. Protag, who has always had his ear closer to the ground on these matters, was keen to champion the likes of Stiff Records and Richard Hell and The Voidoids. I, on the other hand, felt that it was all probably a marketing ploy dreamed up by Malcolm McLaren.

Maybe it was, to begin with; that doesn’t really matter now because we all got caught up in the divine madness and the “rules” still got shattered. The landscape of popular music had changed forever, and the Automatons stepped forward along with all the other One-Chord-Wonders and Bored Teenagers to claim their rightful fifteen minutes of glory.


I sent for cassettes from Scunthorpe and in one was the plea for a guitarist. I couldn’t really play, but – fuck, I loved the weirdness that came from that Low Farm address. Many letters later and that fab meeting at Street Level; disgusting toilet, 8-track tape, Kif Kif, Steffi, Grant – who were they? If only I knew. Then, a gig. Playing live at the LMC in Camden Town – Lemon Kittens, The Door And The Window, Mark Perry. A big high-watt stack, rehearsal, sound check, C# major – what a chord! Scared me to death, but I did it. Got through it.

Then up to Low Farm: Protag’s mum – what a diamond. Funny house – up a bit, round a bit. Tight corners. Protag’s bedroom: microphones, mixers, tape machines, banks of cassettes, timer set to record John Peel’s show to listen to next morning. It was great.

We did gigs in the strangest of places and met the most amazing people. We did gigs with The Mob, Zounds, Chelsea, Here & Now – a fine pedigree.

That was a big buzz for me – playing guitar with me mates, not in the local but Doncaster, Retford, Notting Hill, Nenthead, Grimsby, Shepherd’s Bush, Scunthorpe, King’s Cross… I never thought I would play in a band and end up on a record – Deleted Records did that for me!

I loved the Automatons. I didn’t mind one bit the travelling, the weird venues, getting mistaken for a Fulham fan in Huddersfield, kipping on people’s floors after gigs, the veggie food, the magic mushrooms…It was sad when Mark said “That’s enough” but I was hooked on making sounds, and so was Protag.

Keen students of the era will know, of course, of the pub rock boom which addressed the same concerns on at least certain levels. But, with my soldering iron and my copy of Practical Electronics, I somehow had the idea that we could make sounds that had never been heard before and headed off into uncharted territory.

Drum machines had hardly been invented but I’d heard The Human League and Cabaret Voltaire on John Peel and knew that was the way to go, for us. None of that Marshall stack nonsense, much as I loved noisy bands. We had to be tippy tappy, headphones on, pile on the echo and away you go…

So the drum machine kit came through the post and I soldered the bits together. Hurrah. Samba! Waltz! Bossa Nova! Nothing could stop us.

But stop us doing what? We’d figured, I think, that the reason the late 70’s dinosaur bands made such lamentable albums was the economic quagmire they’d blundered into. Taking the inevitable conclusion from this we determined to make the music we wanted to with zero regard to acceptability and, therefore, with no concern for profitability.

So it was made on the cheap, and, as far as possible, given away; to be disposed of or kept according to the whim of the recipient.

We had our own concerns about what was a satisfactory level of composition, performance and recording, of course, but they were snotty nosed teenage concerns and not manifest on our earliest recordings, and only barely evident later.

Tape hiss ahoy! Made with love for no real reason at all.

And like all first love, you never forget it.


Quotes care of the Instant Automations web page HERE



Engineered by the hands of Grant Showbiz at Street Level Studios, and released ‘in house’ on Fuck Off Records, this non masterpiece still has a huge sackful of charm, and if you try hard enough, you can jump around the room to it ‘but only when yer mum’s gone out!’

A snippet of an Androids of Mu Interview (From No Class fanzine)

As the people from No Class landed in Shepherds Bush, London W12, the keys to the flat were thrown out of the window to us, ready to let an interview with Bess and Corrina from the Androids of Mu take place, which went like this:

NC: Why was the LP called ‘Blood Robots’?

C: By calling it Blood Robots we threw more light on what our name is about. I don’t wanna be too precise about that, because I wanna leave a bit more to the imagination. A lot of our stuff at the same time was about everyday people and situations, but through our minds, from a completely different point of view.

NC: So are your songs protest songs?

B: Yes, most of them.

C: We would like to change things if we could. Generally we are supporting change, of attitudes and for the better. But on the other hand, sometimes what we do is just observation. It’s more like making people think, rather than being opinionated and asking for people to accept our opinions.

NC: So you do benefit gigs?

C: Yeah, loads, cos we’re not playing for money. We aren’t making any money and even when we play ordinary commercial gigs we only get our expenses and when we play benefits we get our expenses.

NC: Did you lose money on the free tours?

C: Yes we did, because it cost us a lot to set it up in the first place, like posters and getting a vehicle in condition, so that we could do it. Our actual expenses on the road had been met but not the expenses that it cost us to prepare the whole thing.

B: But another idea why we started doing free tours was because we thought music is something so nice there shouldn’t be a packaged price on it. You get gigs at Rainbow, £3 or whatever, depends on the seats if you’re at the front or the back, but we thought music should be left to people: what they think it’s worth. Some people at the time thought it was 10p, others 50p. I think that’s great because people paid money what they think; they don’t feel ripped off.

NC: Didn’t you get people going along to try it out, because it was free?

B: Yeah, half of it was like that, they were really supporting us, but not other half.

C: Another thing was that usually they spent all their money on drinks, so that even if they wanted to give, they didn’t have any money left.
NC: And what about the ‘Blood Robots’ cover art?

C: Suzy who was with us at the time, she found this poster…

B: There was a big gallery, posters and poetry done by women. We saw this painting on a wall and she said that could be the cover, and we all went Wow! What a good idea. We did a coloured printing, but the colours didn’t come out right. It was too much contrast, black and brown.

NC: Is it the original that was used, the one in the gallery?

B: Yes, the woman who done that (Monica Sjoo), we wrote to her. We haven’t met her. She said of course you can use it.

NC: Can you tell us about your deal with Crass?

B: Two years ago, when they wanted to do a single with us, they didn’t want our drummer to play on it cos she was playing out of time. They wanted their own drummer, and we all thought it would sound like Crass again, so we refused it straight away.

Suzie was a member of Planet Gong, along with Daevid Allen, Gilli Smyth and the rest of Here And Now in 1977.

Planet Gong completed a European tour in November /December 1977, and released the Album ‘Floating Anarchy 1977’ and the single: ‘Opium for the People’ early in 1978.

Suzie joined Here And Now and left the band in January 1979.

By 1980 she had formed all girl band The Androids of Mu with Corrina, Cozzie and Birsen.

Although a collaborative project, Suzie shared lead vocals with Corrina and wrote much of their material. The Androids were well received by all, including the music press of the day.

They were an integral part of the post punk scene and released one album ‘Blood Robots’, with one music paper headline proclaiming it as “Android Genius”.

The Androids often performed with other West London squat land heroes including The Mob and toured in Britain and Europe until about 1983.



Uploaded tonight is the debut Webcore cassette tape, released on A Real Kavoom from Cornwall in 1984. I liked this band very much and saw them perform many times in and around the capital in many squatted venues including the 121 Railton Road bookshop in Brixton, the old Jungle Records building in Islington, the Mankind Club in Hackney Central and others. There were plenty of great nights at the Club Dog venues in Wood Green and Finsbury Park that should also be mentioned. I also saw them support Psychic TV on a couple of occasions…

Below is a snippet of an interview with the Webcore keyboardist Paul Chousmer ripped for the site.

DS: How would you describe Webcore?

PC: Webcore were often described as way ahead of their time (at the time, if you can see what I mean.) I sort of took the roll of manager as nobody else would and we played everywhere. I (and Ed ‘Ozric’ Wynne) took the same view that the best way to publicize ourselves was to play wherever we could. So we often found ourselves at the same dodgy benefit gigs. All sorts of squats, free festivals, you name it. So we got a reputation for playing together all of the time. I’ve always thought our music was completely different. I felt there was a common psychedelic thread and we were always up for a party. Then Club Dog started (by Mike Dog, who later had the Ultimate Record label with groups like Eat Static and Senser) Webcore, the Ozric Tentacles and Another Green World all became regulars. And we grew with it.

DS: I agree that Webcore’s music was ahead of its time at the time. What would you say were the musical influences of the group?

PC: Our influences at the time inevitably included ENO, but also Psychic TV, Siouxsie and the Banshees, it’s difficult to say now from this distance in time. I would say we brought lots of different things together. Mick was a poet not a singer, so that was his approach. Trying to make his words fit. My idea was to create atmospheres behind the songs. Setting the scene. We were all experimenting. Just trying out ideas and if they felt good. It’s funny now that I’m teaching I see loads of young bands coming together. They all seem to want to sound like somebody else. The A&R mentality of copying whatever the last big hit was! We didn’t think that way at all back then!

DS: Webcore’s music also seems quite different from much of the other free fest bands like the Ozrics and Psi. How do you feel that Webcore fit into this scene?

PC: You’d have to ask this one of the audience really. I find it very hard to be objective. I would say that I was always surprised that Webcore’s audience danced a lot. I didn’t think of our music as dance music. This was fairly unusual in the free fest scene. Our music was also quite structured. Not totally, there was some room for improvisation. But there were definite maps to follow. The other bands seemed to be more into long wibble solos etc…

DS: What are your feelings on the festival scene of the eighties?

PC: You have to remember there was a right wing government ruling here at the time, with that bitch Thatcher at the helm. Lots of unemployment, kids on the dole, etc… Punk had run its course. We were all getting politicized. Stonehenge free festival was banned and suppressed by the police with a heavy hand. So free festivals were often a way to protest. We were all squatting, traveling. I have fond memories of that time. People were thinking of the world around them. I look at the kids now. They have no idea about politics. Nothing to protest about I suppose. The legacy of the Thatcher years is that everyone is out for themselves. Make as much money for yourself as you can and screw everyone else. I think that Reagan and his cronies did the same sort of thing over there.

DS: Through your music as Another Green World, you as an individual have moved quite easily from the scene in the eighties right into the club scene of the nineties and on. How do you feel about the club sound and what are you writing these days?

PC: I really like the music I hear in clubs these days. But it only sounds good in the clubs! In that atmosphere and loud. Most of it doesn’t seem to work when I put it on at home. However loud! In that sense I don’t really understand how I fit in. I actively try to make music that transports you from your armchair at home to some other place, without necessarily being really loud. This is important to me. So I keep in contact with these clubs, send them what I am doing. I just do what I do and they book me if they like it. This is probably quite old-fashioned these days. Everything is high sell, throwaway.





The first release on Hasting’s Unnormality imprint, two tracks from the Good Missionaries recorded live at Manchester University and St Andrew’s University during The Pop Groups ‘Animal Instincts’ tour Summer of 1979, and studio recordings for the second release on Unnormality Records, engineered by Grant Showbiz at Streetlevel Studios in 1981.

A little surprise these tracks, as they are relatively normal ‘pop’ songs for Good Missionaries standards.

Mark Perry

“I rejected punk’s restrictive format and took A.T.V into a direction that was more like free form jazz than the three chord thrash. Some critics despised the change, a few applauded it. I didn’t give a shit. As far as I was concerned, it was my band and I could do what I wanted with it. Miles Copeland (my manager at the time) still talks about the day that I first played him ‘Vibing Up The Senile Man’. He sat there aghast thinking it was some sort of joke until he realised that I was deadly serious”.

“I think after what we did on ‘The Image is Cracked’, I knew that I didn’t want to make another out and out rock album. A big influence in that period, middle ’78 I think, was the tour we did that summer with Here and Now. They were a hippie band that had come out of Gong and that crowd. They invited us to play Stonehenge with them for a festival. It was really for the English type of hippy, living in a bus, huddled together around a lentil stew. That impressed me. They said ‘Why don’t you come on this tour ’cause we like what you’re doing.’ So I thought ‘why don’t we try that?’ My manager didn’t like that but I tried to convince him in an economic way that it would be a big audience. Why should punk put off all these people? It’s potentially a really big audience out there who want to listen to good music”.

“So we went on tour and that was a big change for me. Being around people who were from a different angle and really opened my mind up. There were different aspects and possibilities. We played around the country, at universities, all for free. We traveled in this big bus. For someone like me, from a working class background, it was really refreshing. Scary at first… I’d come out of my tent ask where the bathroom was. Everybody’d laugh at me. I’d have to use a ditch over there! No organization at all, just a generator and a stage and a couple of veggie burgers. Very primitive. I came off that tour and I was thinking ‘we got to do something new.’ I’d been listening to jazz and other stuff. I said ‘let’s get rid of the rock and roll drums.’ That was sort of way of changing it. Trying to just experiment really. We did a couple of songs for John Peel sessions, before ‘Vibing…’ was done, and released as the Good Missionaries. We got a really good response from them. They said it was interesting stuff and blah, blah, blah. I didn’t think they represented how extreme ‘Vibing…’ was going to be”.

“‘Vibing …’ had, and still has, a clarity that I could never achieve within the confines or the traditional rock sound. Punk inspired me but I could never let it constrain me. ‘Vibing …’ is all about me and my life – weird, stark and sometimes even embarrassing. I wanted people to like the album because I guess I wanted them to like me. The real me, not Mark P punk prophet, but me that lurks behind all the bullshit. I thought that people would appreciate my honesty but most rejected it, preferring the safe world of pop-punk. I still think that ‘Vibing …’ is a classic punk album because it takes it into truly chaotic territory – witness the brooding ‘The Radio Story’ for proof. To me, punks only boundaries are the ones that have been set up in peoples closed minds. Punk became the new rock music.”

Clair Obscur – All The Madmen Records – 1986 / Yule – The Cycle Of The Year – Xristos Mass


In January 2015, Louise from the band Hysteria Ward contacted me to ask if I was interested in a load of stuff in a box. A mysterious question to which I answered; “Yes I was”.

On visiting I found that the box contained several 1/4 inch master reels of various recordings (by various bands) that were released on the All The Madmen record label back in the 1980’s.

At the bottom of the box I noticed a master reel for Clair Obscur, music from that reel that was eventually released by All The Madmen records as ‘The Pilgrims Progress’ in 1986.

I handed this master reel to Pete Fender (ex of Poison Girls / Rubella Ballet / Omega Tribe) when we managed to meet up in Dagenham, and later on that year, the master reels were carefully restored and remastered by Pete.

Pete then returned the restored master reels with the remastered raw files and mp3’s on CDR’s.  The master reel that was carefully restored and remastered by Pete has turned out beautifully crystal clear.

‘The Pilgrims Progress’ album is a live recording by French Gothic / Industrial performance artistes Clair Obscur that was released on the All The Madmen record label in 1986.

In my opinion (which is never an exact science) this band seemed to have similarities musically to the Virgin Prunes and I also noticed a slight nod musically to Chrome from San Francisco on some of the songs.

I have never seen a Clair Obscur performance, the band might not even have visited the dis-United King-Dome but what I have learned was that the band always took care over a performance ensuring excellent stage sets and peculiar performance styles.

At one performance Clair Obscur were on stage with a guy sitting on a chair reading a paper, and with clothes drying on a washing line once I think! The ‘Pilgrims Progress’ performance that was recorded for release on the All The Madmen record label took place in a hall transformed into a forest (I nicked that last bit of information from the text below from the Clair Obscur website!)

A short biography written in the text and the performance photograph below are taken from the Clair Obscur website.

Clair Obscur was founded in Creil in 1981 by Thierry Damerval (bass), Christophe Demarthe (vocals) and Nicolas Demarthe (guitar). Clair Obscur strives to nurture their musical creativity into atmospheres, rather than just dispel mere melodies.

Their shows mixing music and visual performances were very quickly recognised, and became a reference to both the buying public and the up and coming French independent radio stations.

In 1982 they were invited to play at the Cirque d’Hiver de Paris for the French magazine Actuel which spoke of “young cultured barbarians” and of “rock Artaud”.

The first cassette of Clair Obscur was released the same year. Later re-published on vinyl and on CD, nearly 7000 copies have been sold since then.

In 1983 Clair Obscur were invited to play at the Ecole Nationale des Beaux Arts de Paris as well as to support Killing Joke at Le Palace in Paris. The stage was cluttered with furniture and domestic objects (between the drums and the amplifiers a couple lived their daily life during these performances).

Their first single Santa Maria was released the same year.

In 1984 Clair Obscur published the 12″ single ‘Dansez’ and created a show at the Théâtre du Forum des Halles in Paris. In a hall transformed into a forest the four musicians of the group became actors to tell a social fable, ‘The Pilgrim’s Progress’.

The recording of the ‘Pilgrims Progress’ concert was released on the All the Madmen record label in 1986. The album was greeted warmly in the British press by the New Musical Express and by Sounds.

From 1986 on Clair Obscur decided to play more with their audience. Their shows proposed situations which could take place only if the spectators played the game. Thus at La Grange à Musique in Creil a pseudo-TV game took place with real candidates.

The British label Cathexis Recordings published the 12″ single ‘Smurf in the Gulag’ which was a wink at disco music, the genuine industrial music.

Each show of the group had to be a unique event always different from their previous show. Clair Obscur attempted to break the established sketches of the performance.

In October 1986 the Théâtre Déjazet in Paris, an Italian style theatre, became the pretext of a feigned bucolic decorum, featuring a chamber orchestra and replicas of famous impressionist paintings, which happened only to be destroyed immediately after.

This gave birth to the album ‘In Out’ recorded thanks to the French national radio France Culture and released by V.I.S.A. (France) in 1988.










Yule: Winter Solstice – Dec 21st/22nd

The origin of the word Yule, has several suggested origins from the Old English word, geõla, the Old Norse word jõl, a pagan festival celebrated at the winter solstice, or the Anglo-Saxon word for the festival of the Winter Solstice, ‘Iul’ meaning ‘wheel’. In old almanacs Yule was represented by the symbol of a wheel, conveying the idea of the year turning like a wheel, The Great Wheel of the Zodiac, The Wheel of Life. The spokes of the wheel, were the old festivals of the year, the solstices and equinoxes.

The winter solstice, the rebirth of the Sun, is an important turning point, as it marks the shortest day, when the hours of daylight are at their least. It is also the start of the increase in the hours of daylight, until the Summer Solstice, when darkness becomes ascendant once more.

Cycle of the Year

Yule is deeply rooted in the cycle of the year, it is the seed time of year, the longest night and the shortest day, where the Goddess once again becomes the Great Mother and gives birth to the new Sun King. In a poetic sense it is on this the longest night of the winter, ‘the dark night of our souls’, that there springs the new spark of hope, the Sacred Fire, the Light of the World, the Coel Coeth.

Fire festivals, celebrating the rebirth of the Sun, held on the Winter’s Solstice can be found throughout the ancient world. The Roman festival of Saturnalia was held on the winter solstice, boughs of evergreen trees and bushes would decorate the house, gifts where exchanged and normal business was suspended. The Persian Mithraists held December 25th as sacred to the birth of their Sun God, Mithras, and celebrated it as a victory of light over darkness. In Sweden, December 13th was sacred to the Goddess Lucina, Shining One, and was a celebration of the return of the light. On Yule itself, around the 21st, bonfires were lit to honour Odin and Thor.

The festival was already closely associated with the birth of older Pagan gods like Oedipus, Theseus, Hercules, Perseus, Jason, Dionysus, Apollo, Mithra, Horus and even Arthur with a cycle of birth, death and resurrection that is also very close to that of Jesus. It can hardly be a coincidence that the Christians, also used this time of year for the birth of Christ, mystically linking him with the Sun.

That Yule is another fire festival, should come as no surprise, however unlike the more public outdoor festival of the summer solstice, Yule lends itself to a more private and domestic celebration. Yet like its midsummer counterpart, is strongly associated with fertility and the continuation of life. Here the Goddess is in her dark aspect, as ‘She Who Cuts The Thread’ or ‘Our Lady in Darkness’, calling back the Sun God. Yet, at the same time, she is in the process of giving birth to Son-Lover who will re-fertilise her and the earth, bringing back light and warmth to the world.

The history of a Christmas festival dates back over 4000 years. Ancient Midwinter festivities celebrated the return of the Sun from cold and darkness. Midwinter was a turning point between the Old Year and the New Year. Fire was a symbol of hope and boughs of greenery symbolized the eternal cycle of creation.

The term “Xmas” instead of “Christmas” is Greek in origin. The word for “Christ” in Greek is “Xristos.” during the Sixteenth Century, Europeans began using the first initial of Christ’s name…the “X” of “Xristos”…in place of the word “Christ” as a shorthand version of the word “Christmas.” Although early Christians understood that the “X” was simply another form for the name of Jesus Christ, later Christians, who had no knowledge of the Greek language, mistook “Xmas” as a sign of disrespect. Eventually, however, “Xmas” came to be both an accepted and suitable alternative to the word “Christmas.”

Many of today’s Christmas traditions were celebrated centuries before the Christ Child was born. The Twelve Days of Christmas, blazing fires, the yule log, the giving of gifts, carnivals or parades complete with floats, carolers who sing while going from house to house, holiday feasts and church processions are all rooted in the customs observed by early Mesopotamians.

Many of these traditions began with the Mesopotamian celebration of the New Year. The Mesopotamians worshiped many gods, the chief of whom was Marduk. Each year as winter arrived, it was believed that Marduk would battle the Monsters of Chaos. In order to assist Marduk during his struggle, the Mesopotamians held a festival for the New Year. They called this celebration Zagmuk and the festivities lasted for twelve days.

The King of Mesopotamia would return to the Temple of Marduk and swear his faithfulness to the god. The tradition called for the King to die at the end of the year and then return with Marduk to battle at his side. To spare their King, the Mesopotamians utilized a “mock” king. A criminal was chosen and dressed in royal clothes. He was given all due respect and the privileges of a true king but, at the end of the celebrations, the “mock” king was stripped of the royal garments and then put to death, thus sparing the life of the real monarch.

The ancient Persians and Babylonians celebrated a similar festival which they called the Sacaea. Part of that celebration included the exchanging of places within the community…slaves would become masters and the original masters were obliged to obey the former slaves’ commands.

In Scandinavia during the winter months, the Sun would disappear for great lengths of time. After thirty-five of such dark days, scouts would be dispatched to the mountain tops to await the return of this life-giving heavenly body. When the first light was espied, the scouts would hurry back to their villages bearing the good news. In celebration, a great festival would be held, called the Yuletide, and a special feast would be served around a fire burning with the Yule log. Huge bonfires would also be lit to celebrate the welcome return of the Sun. In some areas, people would tie apples to the branches of trees as a reminder that Spring and Summer would eventually return.

The ancient Greeks held ceremonies similar to those of the Zagmuk and Sacaea festivals. The purpose of this feast was to assist their god Kronos, who would battle against the god Zeus and his army of Titans.

Members of the pagan order have always celebrated the Winter Solstice…the season of the year when days are shortest and nights longest. It was generally believed to be a time of drunkenness, revelry and debauchery. The pagan Romans called this celebration Saturnalia, in honor of their god Saturn. The festivities began in the middle of December and continued until January 1st. On December 25th, “The Birth of the Unconquerable Sun” was celebrated, as the days gradually lengthened and the Sun began to regain its dominance. It is a general pagan belief that the Sun dies during the Winter Solstice and then rises from the dead. With cries of “Jo Saturnalia!”, the Roman celebration would include masquerades in the streets, magnificent festive banquets, the visiting of friends and the exchange of good-luck gifts known as Strenae…or “lucky fruits.” Roman halls would be decked with garlands of laurel and green trees, adorned with lighted candles. Again, as with Sacaea, the masters and slaves would exchange places.

Saturnalia was considered a fun and festive time for the Romans, but Christians believed it an abomination to honor such a pagan god. The early converts wanted to maintain the birthday of their Christ Child as a solemn and religious holiday…not one of cheer and merriment, as was the pagan celebration of Saturnalia.

As Christianity spread, however, the Church became alarmed by the continuing practice among its flock to indulge in pagan customs and celebrate the festival of Saturnalia. At first, the holy men prohibited this type of revelry, but it was to no avail. Eventually, a decision was made to tame such celebrations and make them into a festive occasion better suited to honor the Christian Son of God.

According to some legends, the Christian celebration of Christmas was invented to compete against the pagan festivals held in December. The 25th was sacred not only to the Romans, but also to the Persians whose religion of Mithraism was one of Christianity’s main rivals at that period in time. The Church was, however, finally successful in removing the merriment, lights and gifts from the Saturanilia festival and transferring them to the celebration of a Christian Christmas.

Christmas means “Christ’s Mass” and is the celebration of Jesus Christ’s birth and baptism. Although December 25th is generally accepted as being the time when the Christ Child was born, the exact date has never been chronicled with any degree of accuracy. There is neither scriptural nor secular evidence to establish the exact moment. One thing is relatively certain, however, the event did not take place in December. Since the child was born when shepherds were “abiding in the field, keeping watch over their flocks by night” (Luke 2:8), it is unlikely that shepherds in Israel would have been sleeping outside with their flocks during the month of December.

In Winter, the herders would have led their sheep outside only during the daylight hours…the nights would have been far too cold. It is known that during the very early Christian centuries, the birth of the Christ Child was not celebrated in any manner. However, tradition dictates that the occasion has been commemorated since 98 A.D. In 137 A.D., the Bishop of Rome ordered that the birthday of Jesus Christ be observed as a solemn feast. In 350 A.D, Julius I (another Bishop of Rome) selected December 25th as the observance of Christmas. This date was made official in 375 A.D., when it was formally announced that the birth of Jesus would be honored on this day…the announcement also allowed some of the older festivities (such as feasting, dancing and the exchange of gifts) to be incorporated into the observance of Christmas. The use of greenery to decorate homes continued to be prohibited as pagan idolatry but, over the centuries, this too became an accepted custom of the festivities.

Wishing all the KYPP browsers nation and worldwide a happy Christmas.

Poison Girls – Studio Out Takes – 1980 / Omega Tribe – Centro Iberico – 1982 / The Apostles – Scum Records – 1984 / Vex – Fight Back Records – 1984 / Lack Of Knowledge – L.O.K Records – 1982 / Xmal Deutschland – Hammersmith Clarendon – 1983

Two tracks from the ‘Chappaquiddick Bridge’ album, ‘Underbitch’ and ‘Alienation’.


Both tracks are instrumentals recorded at Southern Studios in May 1980, and both produced by Penny Rimbaud and engineered by John Loder.

The audio sounds strange without the fiery vocals of the late Vi Subversa, but I thought I should upload the tracks in case there is any interest at all.

The text below is a small section of what Rich Cross has written for the ‘Hippies Now Wear Black’ blog about the history of the Poison Girls.

The whole of the biography may be read HERE

It was Poison Girls’ decision to relocate to Epping, taking up residence in Burleigh House (a licensed squat destined for demolition to make way for the M25), that brought the band into contact with Crass. Neither band had been aware of the other’s work, but, by sheer coincidence, Poison Girls’ new base of operations was only around four miles from Crass’ home, Dial House.

A meeting of minds quickly set in motion an intense period of close collaboration. Poison Girls provided the funding that underpinned the launch of Crass Records, and in turn Crass re-released both ‘Hex’ and ‘Chappaquiddick Bridge’ on the Crass label. It was a hugely positive association, from which both bands benefited, and through shared projects, such as the celebrated, landmark ‘Bloody Revolutions / Persons Unknown’ single, both bands together raised the profile and appeal of anarcho-punk. Subversa’s rendition of the lyrics of Persons Unknown is remarkable, circling through the incisive, biting and sharply perceptive lyrics before intoning ‘flesh and blood is who we are; flesh and blood is what we are; flesh and blood is who we are; our cover is blown.’

The band’s first full-length release ‘Hex’ was an early wave punk record almost without parallel. As well as providing further space for Vi Subversa to demonstrate her distinctive vocal talents, and the band to further explore their own musical style, what made ‘Hex’ stand out was its lyrical preoccupations, and Subversa presented an exploration of the alienation and misery women experienced in the home; of the crushing expectations of narrow gender roles; and of the quiet horrors that awaited wives and mothers in the ‘normality’ of the nuclear family. ‘Is it normal? Is it normal? Is it just another day? Have you emptied out the washing? Have the kids gone out to play?’, asked Subversa, in anger and desperation. It was not the kind of subject matter that interested many other early punk lyricists, and for many of the young punks listening to the record provided a completely unexpected perspective on the world of home, family and the lives of their parents.

Follow-up release ‘Chappaquiddick Bridge’ saw the band broaden its political perspectives, to address the contemptible arrogance of unconstrained political power (typified by the ugly metaphor of the Chappaquiddick Bridge scandal) and restate its broader anarchist principles. The album’s unlisted intro and outro track became one of the band’s most recognised (and quoted) songs. ‘State Control and Rock’n’Roll’ focused the band’s attention on the exploitation, cynicism and co-option of the music business; a theme that would continue to intrigue the band in the years to come. If ‘State Control’ showed the band’s mischievous, witty side, the accompanying ‘Statement’ flexi was the boldest declaration yet of the band’s anarchist intent. Voiced with spine-tingling sincerity and commitment by Subversa, ‘Statement’ railed against the inexorable, destructive, all-consuming power of the war state and the band’s fulsome and absolute rejection of it. ‘I denounce the system that murders my children’, raged Subversa. ‘I denounce the system that denies my existence.’ Her vocal delivery is as startling as it is impassioned.

To get a copy of re-released ‘Persons Unknown’ 12″ by Poison Girls please read this KYPP post HERE

And if you would like to purchase re-released ‘Hex’ and ‘Chappquiddick Bridge’ albums go to the All The Madmen site HERE

I have placed up my rare ‘Hex’ booklet for the audio, and also four Poison Girls flyers from Tony D’s collection.

Omega Tribe at the Centro Iberico, Westbourne Park in the summer 1982 recorded at the same gig that the Conflict Live E.P was recorded at.



If you listen from 7:22 you will hear the only official recording of a song called ‘Punk Roles’ that was issued on the ‘Make Tea Not War’ compilation, the only song to be included from this gig because of the awful guitar tuning throughout!

This Omega Tribe performance was some months before I joined the band; hence I was able to do the recording via group outputs from Paul Tandy’s mixing desk and a Calrec room mic.

The original stereo recording was originally intended for release on Mortarhate Records alongside Conflict’s performance. I still have the master tapes up on my shelf.

Pete Fender

NOTE: This recording is an audience hand held cassette recorder version, not the crisp recording Pete Fender describes above. This recording has been digitalised straight off my copy of the cassette tape.

All I knew of Riot/Clone was their recently released E.P and all I recall of their set was that they played the songs off of it.

Omega Tribe were every bit as tuneful and punchy as they had been the other two times I’d seen them over the past week or so. And they seemed friendly too, giving us flyers printed with their song lyrics that the ink smudged on.

But it was The Apostles who made the greatest impression of the night. For some unfathomable reason they had a succession of different drummers, could they have been scared to spend too long sharing the stage with Andy Martin?

He did seem very angry about something.

The Asian guy with the peroxide hair who pulled us up for scrawling on the walls was playing guitar too. After one song he berated the crowd; “This one’s for everyone who thinks it’s enough to put a circled ‘A’ sign on their jacket. You make me fucking sick.” Not sure what he was really hoping for but clearly this statement had resonance so we clapped approvingly.

Perhaps it was something to do with the slogan on one of their cassette covers; ‘There Can Be No Spectators’ I pondered how I should best avoid being a ‘spectator’ as I watched them play another of our favourites; ‘Burn The Witch’ which reverberates throughout the half-filled hall.

Nic and Miles got up and had a dance to this one and I took some photos. Andy got more irascible with every song and, perhaps so he’d avoid the veins in his neck exploding, vocal duties for the last two numbers were consigned to other band members leaving Andy to concentrate on playing his guitar like Lou Reed and exude rancor.

Conflict played the same ferocious break-neck speed set I’d seen twice recently and with a handful of the songs performed that night later released as their ‘Live At The Centro Iberico’ E.P.

Nic and Miles left after a couple of songs. They didn’t like Conflict.

I watched the rest of their performance from the side of the stage, transfixed by how amazing their drummer was and trying to work out what he was doing to produce drum patterns with his feet.

When it came to drumming, I was just about getting the hang of what to do with my hands.

Icons Of Filth were the final band to play but I only caught a couple of songs before having to leave to run for the last tube, resolving to send them a blank cassette tape and a soaped stamp for a copy of their demo, as I pulled a photocopied poster for a previous Apostles gig off the wall by the exit.

Chris Low – excerpt from the book ‘Not Just Bits Of Paper’.

To buy a copy of ‘Not Just Bits Of Paper’ you can do so via Active Distribution HERE

The photographs of the Centro Iberico are from the collection of Tony D. Thanks to him for those.


Pig Violence

Our Mother The Earth

Kill Or Cure

Rock Against Communism

Drowning In The Sea Of Life

Punk Squatters

The Apostles fourth 7″ single, too toxic for most, and for good reason.

The song ‘Rock Against Communism’ being lifted almost note for note from Skrewdrivers’ ‘Smash The I.R.A.’.

The lyrics for that song, and for the song ‘Kill Or Cure’, lifted from some of the verses from Skrewdrivers’ ‘Sick Society’.

In September 1974 Andy Martin was admitted to Springfield Psychiatric hospital Tooting, as a compulsory patient, being locked and kept under supervision for ‘severe paranoid psychosis with delusions of persecutions, and extreme violent outburst at himself and others, extreme suicidal tendencies’.

Before he was sectioned, there were incidents recorded on police files for petty crime and assault. ‘Queer bashing’ in Clapham Common was one of the crimes that he was involved in.

Squatting exploits were treated far more harshly by the police.

“Obviously it isn’t so bad if you beat up a few benders, but it’s unforgivable if you try to get somewhere to live!”

When Andy Martin was a patient on the Willow Ward (a ward where several patients were given E.C.T and never seen again) he was beaten up several times by the night nurses.

The worst beating was from six nurses flooring him and stabbing a fix of liquid largactyl into him keeping him asleep for almost eighteen hours, and not eating for four days.

He left Springfield in March 1975 returned to Clapham, and thought about joining the National Front, but instead of joining, went on two marches. The NF was only a cosmetic allegiance, joining in, rather than being interested in the politics.

He was sharing squats, and being liberally souped up with tuinal, and getting all his personally belongings stolen without realising it.

The thieves in the squat were shortly beaten badly by some suited thugs that had been sold glucose, ground glass and Vim as sulphate…

Andy was re-admitted to Springfield Hospital in May 1975.

The Apostles, with Andy Martin in the line up, were active from 1981, and since then he has been writing, drawing and learning to play musical instruments.

Many of those songs that were written are anti-racist.

In fact militantly anti-racist.

Andy has made no secret in those years about his own sexuality.

He is a homosexual, although a celibate homosexual.

He “resents being a spastic, a queer, physically ugly”

Andy Martin: The openly homophobic homosexual: The openly anti-racist racist.

His words below.

“Dave and I had one of our frequent fall outs and he buggered off to France.

In a fit of pique I persuaded a bunch of lads known as the Hackney Hell Crew to dive into a studio and make a record with me.

I issued this tripe under the of The Apostles although there is really no justification for such errant impertinence, Dave not being involved.

Simon Parrish (known as Ollie) and Martin Ryan were the only pair who ultimately appear on the record and they thought it was fun even though they weren’t especially fond of my music.

The E.P included two tracks specifically designed to prove an assertion I made in print earlier in the year:

I stated the majority of punks were bigots and racists. So I wrote ‘Kill Or Cure’ (which calls for homosexuals to forcefully submit to aversion therapy or accept the death penalty) and ‘Rock Against Communism’ (which includes every vile complaint, moan, whine and gripe I could remember my parents making when they told me not to bring ‘chinks’ or ‘niggers’ into our house).

I predicted very few punks would express any resentment in response to these numbers.

On the contrary I expected to receive praise and approbation for my courage.

This is precisely what happened! My assertion was vindicated.

The trouble is, many people thought I actually meant what I sung (which is fair enough, after all) and thus rumours spread: The Apostles became a neo-nazi outfit. Yes, that’s me in the swastika T-shirt at the Pied Bull ready to support Skrewdriver at their next concert!

In a sudden attack of conscience, I destroyed most of the records barely a month after their release – I think only sixty copies are in existence.

Ironically, ‘Kill Or Cure’ and ‘Rock Against Communism’ are the only tracks on the record performed and recorded with any skill or ‘professionalism’.

However, in retrospect, it proved useful for the future of the group that I did embark on this apparently invidious project. The record attracted the interest of John Cato who sang for a group called Admit Your Shit.

John was a personal friend of Colin Jerwood who sang for a group called Conflict. All this was most intriguing to me – I knew nothing about these people and I could not comprehend their interest in our work.

Anyway, as a result, Mortarhate (the record company formed by Conflict) issued our 5th single, 6th single and début album.

It was the first time we were not obliged to finance the pressing and printing of our records. They gave us complete control over what we recorded”.

Andy Martin 2016

Last night, I went to DEAD & BURIED, a death rock / gothic nightclub in Archway with my old friend Chris Low, a stones throw away from his home.



Chris was the drummer of Part 1, the latest band that Chris has been involved with. The latest band in an already impressive list of bands that he has been drumming for since 1981.

Chris’s DJ’ing legacy from the late 1980’s until the present day is equally as impressive.

At DEAD & BURIED Chris was DJ’ing for parts of the night with Cavey Nic, who helps organise the events.

It was a nice night, but I had to duck out just after midnight so missed a chunk of the event, but I did witness / hear Chris’s first set, which sadly did not include and Xmal Deutschland or Vex.
Cavey Nic might have included those bands in his set, or perhaps they were included in Chris’s second set I don’t know.

But anyway, as the evening has unleashed my inner goth, I thought I would upload my copy of this 12″ record released on Fight Back Records, a label that was ‘run’ by Conflict.

It sounds remarkably fresh after a thirty year gap in listening to it.

Text below entirely ripped off of the Pitch Fork blog.

The relatively unheralded UK outfit Vex was an anarcho-punk band that sounded far more dark, desperate, raw, and apocalyptic than anything at the time. A new reissue of their lone release, 1984’s ‘Sanctuary’, showcases a band throbbing with ominous, semi-industrial precision.

‘Sanctuary’ was a part of the collective document of a U.K. anarcho-punk underground that had managed to not only survive, but flourish well into the 1980’s. Conflict, along with the similarly political Crass, was a leader of the scene; Vex was a minor participant, a footnote to a footnote. The band was also short-lived, which was the order of the day.

Crass had previously vowed to break up if it ever lasted long enough to see 1984, although it reneged on that promise, later naming their anthology Best Before 1984 in reference to it. “No future” had come to roost. Accordingly, anarcho-punk bands sounded far more dark, desperate, raw, and apocalyptic than anything at the time (at least this side of a new music springing up in Europe that would come to be called black metal).

Vex had desperation to burn. And on ‘Sanctuary’, burn it does. Throbbing with ominous, semi-industrial precision, the song slams along to a martial beat and splintery guitars, a dance track for the gleefully damned. Like a tribe of cyborgs, the band turns anger into something almost mystically ritualistic.

It’s an approach Killing Joke had already solidly established by then, and the Killing Joke influence on “Sanctuary” is pronounced—as it is on ‘It’s No Crime’, whose tense, slashing riffs bears a marked similarity to ‘The Wait’, one of Killing Joke’s most famous songs.

Lead singer Scrote also borrows liberally from Jaz Coleman’s robo-goth howl. But where Killing Joke cloaked its anger in code, Vex was more direct. But not by much.

The anarcho-punk approach left little room for poetic half-measures, and ‘World in Action’ spews wrathful outrage even as Scrote chants, in an escalating spasm of stereo-panned paranoia, “There is a theory that this has already happened / There is a theory that this has already happened.” ‘Relative Sadness’ sinks deeper into the ethereal, a clanking skeleton of a song that borders on the early deathrock of Theatre of Hate.

The reissue’s remaining three bonus tracks—’It’s No Crime’, ‘Pain’, and ‘Pressure’ hail from Vex’s 1983 cassette demo.

Flat, lo-fi, and corrosive, they’re prickly sketches of a group-in-progress still beholden to Killing Joke. When the refrain “The pain!/ The pain!” pops up in ‘Pain’, it’s another open nod to ‘The Wait’.
Given time, Vex may have grown beyond that hero worship and become an influential force all its own.

Not that the record isn’t relevant.

The shivering, savage, post-punk howl of ‘Sanctuary’ can be heard in lots of current bands, from Iceage to Arctic Flowers, although it’s a safe bet that Vex hasn’t directly inspired any of them. But the sound itself echoes.

Punk, in England and elsewhere, weathered the confusion and disillusionment of the 1980’s. It’s as vital now as it ever was. Vex may never have envisioned a future for itself, but the spastic, atmospheric passion of ‘Sanctuary’ has taken care of that for them.


Lack Of Knowledge, Alma Road’s finest. Ponders End, Lower Edmonton.



Ponders End in parts an industrial wasteland, in parts cheap council estates, and as a polar opposite, in parts, a place of beauty. Nature reserves where bird watching groups would wander, and canals where scruffy looking long boats would drift pass.

In the main though the place was (and still is sadly) full of meatheads, the pubs and clubs were edgy and sometimes dangerous, and support for the National Front was high.

Still from this relatively nonconstructive part of the Lea Valley (North East London suburbs bordering on Essex) came Lack Of Knowledge who kicked against the pricks and came out screaming with this wonderful 7″ single late on in 1981 or early 1982.

The sleeve artwork for this 7″ single was just two A4 designs on thin paper slipped into a plastic bag, the record itself, just white labels. No information, all very stark, and of course all very black and white.

Members of Lack Of Knowledge followed Crass around the country, and Ponders End is only a fifteen minute drive away from North Weald and Dial House so those members would be regular visitors and in 1983 the Crass label released the ‘Grey’ 7″ single. This 7″ single was scooped up (as all of the Crass label releases at that time) by myself, who seemed desperate not to fit in with the fashionable order of the day.

Lack Of Knowledge seemed to be ‘speaking’ to folk like me, so my feeling of isolation at that time was eased somewhat by this band’s existence!

A couple of years later Lack Of Knowledge released an album courtesy of Crass, which is (as you would probably expect) excellent.

There is an essay about Lack Of Knowledge on the KYPP post HERE

This essay is well worth reading.

I was reminded today (7th July 2016) that on this day, and this month, way back in 1983, thirty three years ago, Xmal Deutschland performed at the Clarendon in Hammersmith.

I was there. Gene Loves Jezebel and Dead Can Dance also performed.

The gig was excellent, Xmal Deutschland were majestic, hypnotic and the gig was one of my highlights of 1983.

I do not have a cassette tape recording of that performance in July, but I do have a cassette tape recording of Xmal Deutschland’s previous Clarendon performance, when the band supported Danse Society.

The performance on this cassette tape is dated 7th April 1983. Three months previous to the 7th July 1983 Clarendon gig.


This audience quality recording cuts off a little bit of the performance as I accidentally recorded over the second side of the cassette tape many many years ago.

A bit gutted truth be told.

Xmal Deutschland was the first band that I saw numerous times (from 1983 to 1985) mainly in London.

I did take in a cheeky trip to Aylesbury, which was about as north as my finances back then would get me!

April, the month that Xmal Deutschland supported Danse Society at the Clarendon, coincided with the album ‘Fetish’ being released, alongside the 12″ single ‘Qual’.

Both records were released on the wonderful 4AD record label.

The album ‘Fetish’ is one of the records that I still continue to place on the turntable to this day.

To compliment this audience quality recording, are scans of several pages of Zig Zag, Vague and Punk Lives magazines, all from 1983.

I have deliberately constructed the visuals with no thrills, no special effects and so forth, so the pages can be read whilst listening to Xmal Deutschland’s performance.

Tom Vague writes for the Zig Zag and Vague pages.

The legend himself, Tony D, writes the review of Xmal Deutschland’s gig at the Venue in Victoria, which was originally published in the short lived ‘Punk Lives’ magazine.

I stole every copy of the ‘Punk Lives’ magazine from a local newsagents.

I hope I did not bring down Alf Martins empire single-handedly!

‘Punk Lives’ for all it’s faults, did have some decent hacks writing articles for Alf Martin to decide what should and will go into each issue, Caesar-like.

The hacks of note were; Tony D (Kill Your Pet Puppy), Mick Mercer (Panache), Richard Kick (Kick) and Alistair Livingston (Kill Your Pet Puppy Collective).

How the hell Abrasive Wheels, The Blood and Anti Nowhere League got slipped in between the pages is a mystery to me, as were the ‘free’ Wattie and Beki Bondage posters that were available with ample P&P.

I didn’t bother.

Thankfully among the UK82 and Oi! there were very well written and interesting articles on The Mob, Rubella Ballet, Centro Iberico, Black Sheep Housing Co-Op, Stop The City and several other articles that I forget right now.

Vague fanzine was my favorite fanzine (ahem, after Kill Your Pet Puppy, splutter, oh, and Rapid Eye) showcasing many of the better bands of the era.

The larger editions of Vague (mini books) from issue 16/17 (1985) were the absolute pinnacle of Tom Vague’s (and guests) writing on many interesting subjects (Christine F – Decoder / P1 Vatican Mafia / the Masonic Temple / Crowley / God Told Me To Do It and Manson, just a very very small amount of highlights, of many many highlights) the page designs were a work of art (like those monthly Scala cinema posters that were sent out).

If Kill Your Pet Puppy helped start the garish colour page overlays with the text printed on top, then Vague trumped that, and then some.

I still haven’t read the essay on the film ‘If’ in Vague 16/17 with its tiny black writing on dark blue background!

I’ve been trying since 1985.


Tony D’s review in ‘Punk Lives’ of Xmal Deutschland’s performance at the Venue in Victoria hits the nail straight on the head.

That gig was as good, if not better than the Clarendon gigs, and with added Wolfgang Press. A wonderful night.

“However the fiery power and subtle mystery swallowed up such shortcomings (see full review), leaving a stunned crowd taking the name Xmal Deutschland home to cherish” – Tony D.

Tony D’s description seemed apt at all the Xmal Deutschland gigs that I attended.