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556 pages

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The Day the Country Died features author, historian, and musician Ian Glasper (Burning Britain) exploring in minute detail the influential, esoteric, UK anarcho punk scene of the early Eighties.

If the colorful ’80s punk bands captured in Burning Britain were loud, political, and uncompromising, those examined in The Day the Country Died were even more so, totally prepared to risk their liberty to communicate the ideals they believed in so passionately.

With Crass and Poison Girls opening the floodgates, the arrival of bands such as Zounds, Flux of Pink Indians, Conflict, Subhumans, Chumbawamba, Amebix, Rudimentary Peni, Antisect, Omega Tribe, and Icons of Filth heralded a brand new age of honesty and integrity in underground music. With a backdrop of Thatcher’s Britain, punk music became self-sufficient and considerably more aggressive, blending a DIY ethos with activism to create the perfectly bleak soundtrack to the zeitgeist of a discontented British youth.

It was a time when punk stopped being merely a radical fashion statement, and became a force for real social change; a genuine revolutionary movement, driven by some of the most challenging noises ever committed to tape. Anarchy, as regards punk rock, no longer meant “cash from chaos.” It meant “freedom, peace, and unity.“ Anarcho punk took the rebellion inherent in punk from the beginning to a whole new level of personal awareness.

All the scene’s biggest names, and most of the smaller ones, are comprehensively covered with new, exclusive interviews and hundreds of previously unseen photographs.

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Publié par	PM Press
Date de parution	01 juillet 2014
Nombre de lectures	0
EAN13	9781604869880
Langue	English
Poids de l'ouvrage	3 Mo

Informations légales : prix de location à la page 0,0025€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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The Day the Country Died: A History of Anarcho Punk 1980–1984
Ian Glasper
First published in the UK by Cherry Red
This edition © 2014 PM Press
All rights reserved. No part of this book may be transmitted by any means without permission in writing from the publisher.
ISBN: 978–1–60486–516–5
Library of Congress Control Number: 2013956921
Cover by John Yates / www.stealworks.com
Interior design by briandesign
10 9 8 7 6 5 4 3 2 1
PM Press
PO Box 23912
Oakland, CA 94623
www.pmpress.org
Printed in the USA by the Employee Owners of Thomson-Shore in Dexter, Michigan. www.thomsonshore.com

DISCLAIMER
ACKNOWLEDGEMENTS
INTRODUCTION
The Day the Country Died
CHAPTER ONE
North & Northeast London
Crass
Flux Of Pink Indians
Lack Of Knowledge
The Eratics/Look Mummy, Clowns
Rubella Ballet
Dirt
Omega Tribe
Rudimentary Peni
Karma Sutra
Dominant Patri
The Apostles
Kronstadt Uprising
The Sinyx
CHAPTER TWO
South & Southeast London
Conflict
AYS
Liberty
Anthrax
Naked
Riot/Clone
Lost Cherrees
Hagar The Womb
Youth In Asia
Flowers In The Dustbin
Blood And Roses
Anathema
CHAPTER THREE
South & Southwest England
Subhumans
A-Heads
Amebix
The Mob
Null And Void
Thatcher On Acid
Virus
Metro Youth/Sanction
The Waste
Self Abuse
Atrox/Shock To The System
Polemic
Tears Of Destruction
CHAPTER FOUR
Wales
Icons Of Filth
No Choice
Shrapnel
Symbol Of Freedom
Classified Protest
Living Legends/Class War
CHAPTER FIVE
Central & Eastern England
The Cravats
Contempt
The Sears
Indecent Assault
Zounds
The Snipers
Antisect
Exit-stance
Part 1
Legion Of Parasites
Reality
Disrupters
CHAPTER SIX
Northwest England
The System
Wartoys
Anarka And Poppy
Andy T.
Untermensch
Psycho Faction
CHAPTER SEVEN
Northeast England
Blood Robots
Reality Control
Famous Imposters
Chumbawamba
Icon AD
Anti-System
Nick Toczek
Kulturkampf
Instigators
The Xpozez
D&V
CHAPTER EIGHT
Ireland
Toxic Waste
Stalag 17
Hit Parade
CHAPTER NINE
Scotland
Oi Polloi
Political Asylum
Alternative
AOA
APPENDICES
LABEL DISCOGRAPHIES
WEBSITES
ADDITIONAL PHOTOS

Leeds squatters 1987, Nick Evans (ex-Slaughter Tradition) in the middle, picture by Andrew Medcalf.
FIRST of all, by even trying to label anarcho punk as ‘anarcho punk’, you seek to leech away much of its power, by stuffing it into a neat pigeonhole, where, once classified, it can be more easily controlled. Please bear in mind, the term is one used here for ease of reference only.
And please note, for the sake of argument, the bands have been categorized geographically, by their place of origin. For example, Antisect, The Mob and Zounds all ended up in London, but started their musical journey elsewhere, and it was the environment in which they grew up that more often than not shaped them into the people and bands that they became.
Yes, there are several major players in the anarcho punk scene not represented here as fully as I intended. As with ‘Burning Britain’, I made all efforts to contact every important act of any relevance, but for various reasons known only to themselves, not everyone either wanted to be – or was able to be – involved. This is still the closest you’re likely to get to a definitive overview in your lifetime anyway!
I should briefly mention the inclusion of John Cato and AYS, which may surprise many readers, considering the inflammatory nature of his world view. But c’mon, if a book on anarcho punk can’t ruffle a few feathers, what’s the point? John’s story is an interesting and important one, and, as repugnant as I find his politics, the notion of censoring him is even more anathema to me.
And finally, before we get started, let me state once and for all: I am not an anarchist… I have a wife, two kids, a regular job and, it pains me to say, a hefty mortgage. But I am a lifelong ‘fan’ (another horrible word, merely used to illustrate a point rather than suggest any sycophantic tendencies) of anarcho punk, with strong anarchistic tendencies, and many of the ideals instilled in me as a direct result of the music I listened to as a youth have remained with me to this day. Respect for myself and those around me, respect for the planet and all its inhabitants, regardless of creed, colour or species. Yes, I’ve been beaten up whilst hunt sabbing… yes, I’ve been arrested on demonstrations… but I mention this not for the sake of misplaced vanity, but merely to help reassure you that I do indeed hold strong views and have in the past been prepared to stick my neck out to express them.

Animal liberation badges, as seen on a stall at a Conflict gig, picture by Tony Mottram.
But punk music liberated me in so many other ways, and whilst age and responsibility have mellowed me, and to all intents and purposes I’m at the beck and call of the system with my regular life, I certainly know my own mind; I don’t swallow all their lies, hook, line and sinker, and I do what I can to have a positive effect on those around me. If personal revolution starts with the honest dissection of one’s own hopes and fears, I’ve been revolting most of my adult life. And believing in yourself is surely the first tentative step towards personal liberation. Maybe I’m more of an ‘anarchist’, in my own quiet way, than I think…
See you again in 2008 with a book all about UKHC from 1985 – 1989, which will complete my planned trilogy about Eighties punk rock in the UK.
Ian Glasper
I wish to extend my sincerest gratitude to the following wonderful people:
Sean Forbes (for patience, encouragement, proof-reading and invaluable assistance with the discographies), James Sherry, Steve Cotton, Darren ‘Rat’ Radburn, Dave Marston, Trunt, Sean McGhee, Roy Wallace; Des, Jimmy, Shrew, Al, and all the Cheltenham punks; Pat Poole and Pat Lawlor; Iain Aitch, John Esplen (Overground), Dmitriy Kovlskiy, for all the kind words (good luck with your own book, mate!); John Welsh; Jamie Cartwright (for the postcard!), Mark Brennan, Rebecca Pollard, Lance Hahn, Aston Stephens, Michael Heatley at Northdown, and, of course, all at Cherry Red, especially Iain McNay, Matt Bristow and Doug Shipton.
The following kind folk for many of the incredible pictures: Tony Mottram, Jaz Wiseman and Marc Freeman, Andrew Medcalf, Paul May ( dead_brit@yahoo.com ), Mick Slaughter, Mick Mercer, Claire McNamee, Mo, Scotty, Dai Joseph, Lee Holford, Per, Chris Low, Mickey Penguin…

Stig of Amebix at the 100 Club, London, September 1985, picture by Paul May.
All the bands involved for their time and patience, especially those that extended me the hospitality of their own homes: Penny Rimbaud, Gee Vaucher, Steve Ignorant, Colin and Paco, Colin Latter, Dick Lucas, Sid and Zillah, Gary Dirt, Rob Amebix, Phil Anti-System, Eddie Icon, Ian Bone, Steve Lake, and Andy System…
Sensei Malcolm McClure and Nigel Lee of OKKO, Sensei Steve Branagan of Ledbury Aikido, and not forgetting Iain Abernethy for being an inspirational karateka, never mind an old punk rocker at heart! All at Terrorizer, especially Jonathon Selzer, Pete Yardley, Damien, Avi Pitchon, James Hoare, and Marion Gardner. Last, and most definitely least, my fellow thrashers in Suicide Watch (especially Richard White) for putting up with my diminishing abilities on the bass guitar!
My wife, Jo, for her unconditional support, my beautiful kids, Amy and Sam, for keeping everything in perspective; mum, dad, Paul, Emma, and everyone else in my immediate family; everyone I work with, for putting up with me… and all the Ledbury punks, past present and future, especially Silv, Dave, Renn, Mobs, Paul, Glynn, Darren, Griff, Kev, Big Barr, Trigg, Mav, Captain and Dorris… the list is endless. My apologies to anyone I’ve forgotten.
This book is respectfully dedicated to the memory of Andrew ‘Stig’ Sewell, an overlooked genius if ever there was one, whose articulate sense of right and wrong will be sorely missed.
Also in memory of John Loder, a kind and generous visionary, Iain ‘Corrosive Abuse’ Shiner, and my late, great mate, Dean Uzzell, whose memory is with me always – RIP.
Ian Glasper, July 2006
THE DAY THE COUNTRY DIED
I n the beginning there was Crass… although as reluctant leaders of an anarcho punk movement that essentially eschewed all leadership, I doubt they’ll thank me for saying that. But they were Year Zero, a very literal line in the sand that translated as ‘Enough is enough!’ No more corporate companies misrepresenting our music; this was the birth of genuinely DIY labels, whose records were sold at virtually cost price, and bearing ‘Pay No More Than…’ notices to make sure they were. No more big booking agents controlling punk shows, levelling extortionate guarantees; now fans of the music themselves could communicate directly with the bands, and book them into alternative venues at affordable prices, the meagre door takings being ploughed back into worthwhile causes locally. No more glossy magazines dictating how punks should look, sound and behave; anyone who could string two words together and use a stapler was a potential fanzine editor. No more inane lyrics about c