WILT combine old school metal and crust in a perfect hybrid that very few others have ever achieved. Prepare for a LP thats equal parts galloping d-beat crust reminiscent of bands like HELLSHOCK, and INSTINCT OF SURVIVAL, meets old school death metal in the vein of BOLT THROWER, MEMORIAM (old) SEPULTURA.
Here is a track from the upcoming LP
“Sermon for the Bootlickers”
Despite the inculcation of helplessness within each there remains great power. Ill at ease with such makes us ill. Learn to see the hand that feeds for what it is. You’ve been fooled if you think you’ve got no power. Refuse to be reduced to a consumer you’re a human being. Define yourself by more than wealth. Define yourself as a human. You don’t need what you’re being sold. Bend your knee to no authority but your own mind. You have the power to avoid the gilded trap. Avarice is what you’re conditioned for. Break the mold discover what’s really valuable to you.
Wed, July 12 Hanover / Germany / Confirmed Thu, July 13 Bremen Fri, July 14 Mulhem / Germany / Confirmed Sat, July 15 Gent, Belgium / CrustPicnic / Confirmed Sun, July 16 Paris / France or Amsterdam / Nederland July 18 North-East France or West Germany July 19 Freiburg / Germany TBC July 20 Winterthur / Switzerland Fri, July 21 Zurich / Switzerland Sat, July 22 Biel / Switzerland July 23 Lausanne or Geneva / Switzerland
July 24 Geneva / Switzerland or Grenoble france
July 25 Treviso (or Milano or Bologna or Verona) / Italy
July 26 Ljubljana Slovenia Confirmed
July 27 No Sanctuary chilling day
Fri, July 28 NoSanctuary Confirmed
Sat, July 29 NoSanctuary Confirmed
July 30 Ilirska Bistrica/Slovenia or Vienna/Austria or Budapest/Hungary.
July 31 Wiena / Austrai or Budapest or / Slovakia
August 1 Brno / Czech Republic.
August 2 Prague / Czech Republic
August 3 Finsterwalde / Germany TBC
Fri, August 4 Leipzig / Germany TBC
Sat, August 5 Berlin / Germany / confirmed
August 6 Dresden
August 7 Wroclaw / Poland
August 8 Warsaw / Poland
August 9 Poznan / Poland
August 10 Szczecin/Poland TBC
Fri, August 11 Rostock / confirmed
Sat, August 12 Hamburg TBC
Brace yourself for one of the most uncompromising hard hitting and politically outspoken records of this era. STORM OF SEDITION are an anti-civilization anarchist crust punk band based out of Victoria BC. Sharing members with the mighty ISKRA you can definitely expect some serious blackened crust, and yes a huge metal influence is prevalent however STORM OF SEDITION are a bit more reminiscent of bands like CONTRAVENE & NAUSEA. “Decivilize” brings a heavy anarcho punk dynamic to the table combined with over the top blackened crust grind thats littered with blistering solo’s, insanely powerful drumbeats, and thought productive lyrics that challenge our current state of human civilization. All in all this is an absolute monster of a release!
Comes with a 12 page booklet containing lyrics, notes, and song explanations.
STORM OF SEDITION WILL TOURING THE WEST COAST THIS SUMMER!!!
Keep you eye’s peeled for a list of tour dates soon!
Listen to the song “Disconnect” here…
Living a domesticated existence Starves people of meaning in their lives Everyone feels the void beneath the surface Of everyday activities and routines
Miserable, exploited, mass populations Feeding the industrial systems endless hunger Treated like machines, living beings Enslaved and kept passive in a technological noose
We live in these cages Made of concrete, glass, and steel A functioning human made hell Complete with natural scenery
Yet there is no community Deprived of connection with real people Technology perpetuates alienation But promises to connect us
And fill the void in our lives In constant need of escape and distraction From this fucking ugly world Technology creeping into our lives
Pop culture, pacifying shit Endless distractions to curb dissent A society of lonely domesticated beings Attempting social interaction behind a digital screen
Clinging to the feeling of connectedness Personalized profiles, mass communication tools Monitored and funded by pigs Spying on people, on movements While corporations profit off government control Microsoft, apple, fedbook Endless lists of corporations Infiltrating our everyday lives The NSA, the CSE Databases created from what you share Information for incrimination Millions of people on terrorist watch lists Technology’s a weapon used against us
Its function is to propel their ability To efficiently exploit us and the natural world While doing so capitalizing off selling us Gadgets to distract us from the lives we live and hate
Turn off that shit, enter the real world You are not connected You are alone staring into a fucking a screen
Get outside, meet with real people! Even if we use these tools We must never forget
Technology is a system created by and for those in power And it will only exist with Division of labor, exploitation, and death
Becoming connected through technology Is a sick fucking joke
PROFANE EXISTENCE RECORDS – PO BOX 647 – HUNTINGTON WV – 25711 – UNITED STATES
Originally pressed in 1996 PROFANE EXISTENCE is bringing this quintessential anarcho punk masterpiece back in circulation.
In 1996 AUS-ROTTEN released their first LP “The System Works For Them” on an unsuspecting punk scene. It spread like wildfire in a pre internet era within a genre that mostly depended on tape trading. (at least is was pre internet for us penniless punks) “The System Works For Them” was the perfect mix of anger and intelligence that the scene needed at the time (and still does today). It was like a wake up call that opened the eyes and ears to many punks the world over. The messages where crystal clear and most us were hooked as soon as the beginning shouts of “Boycott” bellowed over the speakers. I don’t believe any of us ever expected their message to resonate so well within the scene, but even more surprising is how the songs are just as relevant today as on they the day they were written. Which is why PROFANE EXISTENCE has decided to repress this record. We feel that that messages that AUS-ROTTEN brought to the table are to powerful to ignore. We feel that this LP is important and therefore should be highly available and priced affordably.
PROFANE EXISTENCE has worked out every last detail of this release with the members of AUS-ROTTEN whom have been involved from step one. All tracks have been re-masted by Jay Matherson at the Jamroom studios. To be 100% honest we didn’t want to do a complete re-master of what we already considered a good recording. However when we opened the tracks on protools we noticed a few balance issues that required fixing. These fixes resulted in a tremendous upgrade to the overall quality of the tracks. We painstakingly scanned, puzzled, and photoshopped the original artwork to make sure that it was as close to authentic as it could possible be. We then went for broke by pressing in three different vinyl color combinations! Overall to say that we are pumped to release this would be an understatement, we are absolutely ecstatic to bring you this LP on PROFANE EXISTENCE!
To top this all off we worked with AUS-ROTTEN vocalist Dave Trenga on redrawing the classic “What Good Is Money, When There Is No One Left To Buy” design for a T-Shirt to concede with the albums release. This is a fresh take on an old image to create a new and original design.
Vinyl options are…
1. Standard black vinyl
2. “The Battlefield is Still Red” Bloodsplatter vinyl.
3. See through “Smoke”. – Available at SKULLFEST only
Silence are a highly active post-punk/peace-punk band from Pittsburgh, PA. “The Deafening Sound of Absolutely Nothing” strives (and succeeds) to achieve the perfect balance between peace and post punk. By taking influences from The Mob, Bauhaus, Zounds, Killing Joke, Amebix, Crass, Conflict, Internal Autonomy and Joy Division SILENCE have created what can only be described a brilliant debut LP. At one moment this record is dark, heavy, and atmospheric and then the next moment it makes you want to dance and sing along. Lyrically SILENCE are much closer to the anarcho side of the previously listed influences. Lyrics focus on a variety of topics but often have a strong focus on the way punk and activist communities deal with political struggle in our current political climate.
“The Deafening Sound of Absolutely Nothing” comes with a 16 page magazine size zine containing lyrics, personal writings and song explanations. Designed, printed and assembled by the band themselves in true D.I.Y. fashion.
Silence will be having a record release show in their hometown of Pittsburgh PA at the Rock Room Friday April 22nd with SHADOW AGE and SKELETON HANDS. Then later this month SILENCE will embark on a full United States tour to support “The Deafening Sound of Absolutely Nothing”. Here is a list of dates. Be show to check in with the bands “bandcamp” or “Facebook” page for show updates.
When all that remains is a world in flames. Is that when they’ll say the wars are finally won? That wars are finally done?
They’re beating on the drums again, they’re fueling up the planes. The congressmen fall into line and sing the old refrain. In the name of peace they’ll burn the land and drop a thousand bombs.
Meanwhile we’ll just stay at home and go back to our sitcoms. It’s the same old song, we’ve heard it before. They’re beating the drums and they’re calling for war. What it’s supposed to accomplish, no one is sure But the victims are always the hungry and the poor.
Once the drums of war begin it’s hard to make them stop. The noise silences the dissidents once the bombs begin to drop. All those who call for peace will be mocked and pushed aside. In 10 years they’ll admit we were right after many thousands more have died.
Finally after many delays from the pressing plant the WARWOUND Demo’s LP “A Huge Black Cloud” is out and copies are moving fast!
Recorded in 1983, this record contains 15 songs from 3 sessions. With a few different takes you get a total of 25 blistering tracks. For those unfamiliar with WARWOUND, they are a UK band formed in 82. WARWOUND recorded 3 demos in 83 before disbanding and members went on to join THE VARUKERS and form SACRILEGE. These demos never received an official release… until now! Highly influenced by DISCHARGE, WARWOUND is one of the first bands ever to take D-Beat Punk to a raw and intense level. Recently reformed in 2015, original guitarist Damian is now joined by Ian Glasper on bass and Rat Varuker on vocals. After a few gigs in the UK word is spreading fast of the relentless onslaught of a live show these veterans put on. WARWOUND have also recently hit the studio to record for the first time in over 30 years. Needless to say WARWOUND is back with a vengeance!
Like a swirl of flame, Burnchurch’s sound makes you aware. Makes you strong and unscarred by the wounds that have humbled some. It has that real uplifting aggression that has a pulse-beat. You’d know it is a sound that has developed over time. The members of the band have played for years in many other underground DIY bands such as Easpa Measa, Rats Blood and Silence.
They have a real nice dual-guitar sound with constant harmonies yet throughout retain that haunting melancholic baritone. There is melodic strength derived from the bass riffs too, like the riff accompanying on “God Eaters”, where it loops around and around bringing all the elements together. The main vocal at times are like if you took an intake of breath and let it out again screaming until you have to gasp for a breath. Very hard to do and get right I’d imagine, the result makes it more hostile. It all is held tightly together by a drum beat, specifically fast but all parts uniquely distinct.
Their sound is best described perhaps as that hard edged introspective dark hardcore with a sombre presence. Lyrically my favourite on this is “Curses”. It invokes an ancient Irish curse. They say with such a curse the person who invokes it, must be deeply injured and deprived of justice. The curse is always quite definite and declared loud. Of course within this darkness there is hope and optimism too. This sound is purely their own, looking forward to seeing them live again.
It is very sad news to hear that Todd Serious, the vocalist of Vancouver’s The Rebel Spell passed away March 7 2015 in a tragic rock climbing accident.
Todd was a wonderful human being a dedicated activist, excellent vocalist, and a good friend to many people. He contributed immensely to the punk community and positively impacted the lives of everyone he came in contact with. It is always widely felt when we loose another a member of our tight knit community; and Todd was definitely a positive part of this community. His passing will be mourned by many people across the continent.
I want to take a moment to reflect on my own interactions with Todd and share those experiences. I first met Todd and Rebel Spell in about 2006. I primarily knew Todd through his band, who I worked with back when I was a promoter setting up DIY punk shows in Victoria, a west coast town on occupied Coast Salish Territories. I believe I first met them when traveling with another favorite band of mine, Leper, on a mini tour with 2 other Victoria bands, Grey Army and Blood Nasty. Right from the beginning it was Todd and Erin who were the ones I felt genuine friendship from. Todd was great at making sure that all the outcasts felt included, and had a genuineness I have rarely seen in anyone else. This was a wonderful relief from the often clique and elitist aspects that are all too common in the underground music subcultures.
The Rebel Spell has always been a band who exhibits a lot of integrity; both as a band and as individuals. Despite this they have often received more than their share of criticism from diy-anarcho punks and crusties for not sounding dirty enough, or for playing with more mainstream bands like Rancid; yet from what I have witnessed the Rebel Spell more than any other band seemed to take accountability for making sure their shows were inclusive and safe. Often Todd would make time between songs to remind people to make the pit a place everyone who wanted to could use, or to call out shitty behaviors that others would have been content to ignore. He was committed to his values, and inspired many others with his compassion for both animals and people.
I consider myself lucky to have known him and worked with him, Todd and Rebel Spell were alway wonderful to work with. To his family, his bandmates, his close friends and the rest of his community; we send our condolences from PE. Todd has and deserves our deepest our respect. Let’s make sure to support those who are greiving this loss and to continue his work in building community and helping animals.
We just finished up our latest recording of 2015 for the split e.p. with VASTATION from Portland and also a good handful of tracks for out next full length l.p. No plans are in motion for the l.p, but will have the split e.p. on hand for the Crust Stock fest in California later this year. That will be a partner release with Organize and Arise along with Profane Existence.
Once we get over the initial hump of getting the e.p. out, we’ll have a better idea of what to do with the l.p. and hopefully find some labels to collaborate with on that.
From the sewers of a city boiling over. We have Rats Blood ferocious as ever in a haze of fast-paced power chords and pummeling bass. I’m guessing when not playing music in their band room they are listening to classic Finnish hardcore punk. I don’t mean that they are rehashing it. I mean they play musick that is stripped down and and straight to the point. Isn’t that what punk was meant to be, pure raw aggressive energy.
Lyrically it is dark social commentary dealing with the decay of our existence, force-fed culture, and grey visionless cities. Rat Blood’s strength I think is the simplicity and sheer energy driving their music. No guitar solos, short songs mainly under the two minute mark and angry as fuck.
Yes! Finally, after what turned out to be a gigantic task of moving the PROFANE EXISTENCE distro from Minneapolis to Denver, transferring tons of data, and rebuilding the web store, we are finally set to open back up. To access the new store follow one of the many links from profaneexistence.com or access it directly at http://profaneexistence.storenvy.com
The first official PROFANE EXISTENCE title of 2015 is out and ready for order! We are proud to bring you the RIFLE DIET – “NO SOLACE”LP
Rifle Diet’s No Solace is a 12in 45 that combines the Classic Minneapolis crust sound with Swedish hardcore, D-beat and Epic crust (think somewhere between Servitude and Wolfbirgade, with hints of Tragedy and Fall of Efrafa). The beautiful cover art by Hannah Benoche sets a bleak mood for the dark music within, plus a cover of His Hero is a Gone – Chain of Command (ex-members of InDefence and Garmonbozia) This LP is a joint release between PROFANE EXISTENCE and BLOOD OF THE YOUNG RECORDS
To honor both the opening of the new store and our first release of 2015, we are giving a free copy of the RIFLE DIET – No Solace lp to everyone that spends more then $50 from Monday January 12th to Monday January 19th!!! This deal is for one week only. DO NOT MISS OUT!
*Note*Rifle Diet are playing a record release show 1/17/15 at the Dogplex in Minneapolis with Kontrasekt, Aziza, and Fucking. To coincide with that show all orders that contain the RIFLE DIET – No Solace lp will be shipped out on Monday January 12th.
The next release in the works is the new full length lp from APPALACHIAN TERROR UNIT – “We Don’t Need Them”.
We Don’t Need Them is the second full-length record from West Virginia punx Appalachian Terror Unit. ATU have become known throughout the years as being one of the most politically charged bands in the current punk scene. This new record is an all out attack on today’s society that takes ATU to a new level of intensity both lyrically and musically. The combination of the beautiful and thought provoking gatefold cover art designed by Stivart along with the brilliant recording and mastering job by Jay Matheson at the Jam Room take this record even further. Song subjects include the horrors of war, police brutality, destruction of the environment, rape culture, consumerism and much more. Expect a very heavy and much angrier approach from a band that has been around the block and matured their sound. Seven raging new tunes including the epic fourteen and a half minute track “We Don’t Need Them”, a song that will one day be ranked among similar greats as the SUBHUMANS “From the Cradle to the Grave” and AUS ROTTEN “And Now Back to Our Programming”.
APPALACHIAN TERROR UNIT – We Don’t Need Them will be pressed in the United States on PROFANE EXISTENCE & in Europe on SKULD /RUIN NATION
WARWOUND – “A Huge Black Cloud-The Demos 1983“
Another record we are very excited about is the upcoming WARWOUND – A Huge Black Cloud-The Demos 1983. Recorded in 1983, this record contains 15 songs from three sessions. With a few different takes you get a total of 25 blistering tracks. For those unfamiliar with WARWOUND they are a UK band formed in 82, and released 2 demos in 83. Members went on to join THE VARUKERS and form the almighty SACRILEGE. Warwound are one of the first bands to take the politics and d-beat influence from DISCHARGE and combine it with the blown out sound of CHAOS UK to achieve total destructive raw d-beat ear bleeding chaos!
WARWOUND – A Huge Black Cloud-The Demos 1983 will be a split release between PROFANE EXISTENCE and ORGANIZE AND ARISE.
It will be available in the spring of 2015.
Other records and projects we have in the works for 2015 …
VASTATION (pdx formally night nurse) vs WAR//PLAGUE Split EP
For the last few years I have been giving workshops to activists on prisoner support for movement prisoners. I believe strongly that we have an obligation to do support for people who have been imprisoned for their involvement and dedication to creating positive change in this fucked up world. Why should anyone risk their freedom if we are not going to support our prisoners who get punished by the state for taking actions that need to be taken?
People often tell me they would like to write to prisoners but that they don’t know what to say and are afraid of making mistakes. The reality is it is super simple, so in hopes of stopping any more excuses and persuading you to pick up the pen I figured I would outline the very few things you will want to avoid if writing to an inmate.
# 1 – Don’t Make Promises You Can’t Keep
Everyone hates waiting for a friend that doesn’t show up to meet you, or being stood up by that cute boy who promised he would call after last night. Well for people locked up behind bars, it is far worse because you may be the only contact they have to the outside world; so if you don’t follow through they become even more isolated. You may have great intentions when you write someone, so promising to write them every week or send them every book by Ursula K Le Guin seems like a sweet thing to do, but when you don’t come through you are not only failing a friend, you are also reinforcing those prison bars and the isolation they are designed to create. You would be far better off to just not promise them anything in the first place. That way when you send them a letter, it is like a lovely surprise that will brighten their day, rather than waiting for something that is never coming. Those Ursula Le Guin books then becomes Gifts, rather than making them feel Dispossessed. The short of it is, only make promises to prisoner IF you know for sure you can live up to them, and if you promise something you must follow through.
# 2 –Don’t Complain – Stay Posi
The point of writing someone inside is to help them feel connected, to help them escape; if not literally them metaphorically (If you try to hide a file in your letter it will get confiscated and the prisoner will get in shit for it). Remember why you are writing. We all have shitty days, and often want someone to wine about it to who will listen, but no matter how long you had to stand in line at the bank or be put on hold by your cell phone company – it will never compare to how much time a prisoner spends waiting in lines. Send your complaints to the editor, not the prisoner. A prisoner doesn’t want to hear about your shitty day and petty drama that they can’t effect; they would likely much rather hear about the awesome dog you played with, the rally you went to, the great book you just read, or the cute baby who beat your ass at chess yesterday. Hell, if you can’t think of anything to write, draw them a picture or cut out some photos of wildlife or cute kitties from a magazine. Some folks also love crosswords or sudokus.
# 3 – Don’t Say Stupid Shit
Maybe that sounds too obvious, but let me explain. Every letter you write to a prisoner is going to likely be read, and especially if you are using email through prisoner correspondence sites like Corrlinks which are recorded and copies are kept. So if you decide to tell Ted Kazcinski you think he is a hottie so your going to make bombs to send to people he doesn’t like, not only will you likely get raided by the FBI, but he will also end up in the hole. Yup, prisons read your letters for a reason, and if you say anything about illegal shit you are involved in or people you know are involved in, the prisoner will get punished for it and it could even be used against them in later court dates. I know this might sound like common sense and thus not need to be stated, but lets be honest here – common sense is anything but common.
# 4 Don’t Be a Creepy
I remember when my friend Kelly went to jail for G20 bullshit, she started getting these letters from some fucking creep hitting on her and telling her she was hot (from the photos the media was using of her from the riot). THIS IS NOT OK. It is not OK to be a creep, whether it is hitting on the cashier at the grocery store who is paid to smile and be pleasant, the waitress at the caffe who needs her paycheck and tips, or in this case, a prisoner. These folks are literally a captive audience unable to smack the fuck out of creeps who deserve it do to their situation. So even if you do think old Uncle Ted is the bomb, keep it to yourself. Sending a letter with uninvited sexual content is like sending them an emotional letter bomb.
If you are truly intent on having that type of correspondence with a prisoner to fulfill some sexual kink that turns you on, OK; there are actually websites for prisoners looking for a flirty pen pal or relationship. In the end it is about consent; if they want that type of contact, let them seek it out. Don’t harass prisoners who are not asking for you to objectify them while they are locked up.
# 5 – Have No Expectations
I started writing to prisoners a few years back now, and I have been lucky to get a few really good pen pals out of it, and to form real friendships that I believe will outlast their prison sentences. I have had prisoners send me artwork, poetry they wrote, books they wrote while inside and of course many letters. However I have also written many letters to which I have never seen a reply – and that is totally OK. The reality is that prisoners have far less access to resources than we do. Even if you are poor as fuck like me, and run out of money every month, or work some minimum wage shit job, you will have far more money than most prisoners. In the colonial nation state that calls itself “Canada”, an average prisoner makes around $2-$3 a day… Yes, you read that right, per day, not per hour. Unlike prisoners south of that imaginary colonial line, all stationary, toiletries, and personal care items must be purchased using what the prison labels “earned income.” What this means is that for a prisoner to write you a letter they must use their prison wages to buy the paper, pen, envelope, and stamp; at whatever price the prison canteen sets for these items since there is not competing businesses inside a prison. On top of that, time might seem like something a prisoner would seem to have an endless supply of, but really from people I have known who served ‘time’, it doesn’t seem to feel that way when you are on the inside. So what I am saying here is when you write a letter to a prisoner, have no expectations. Teat it like you are sending your words on the wings of angels, and if you do get a reply, remember how much that person had to give up in order to return your correspondence. Often many of us tend to take our relationships for granted, you simply can not do that with someone who is a captive of the state.
Beyond that remember the basics, your letter will need to have a return address (I often write my return address on each page in case the prison decides to fuck with them by “loosing” a page, It is also a good practice to number your pages for this reason), as well as the prisoners legal name (and number in the US) needs to be on the letter. Don’t put stickers, stamps, perfume, glue or glitter, on the pages or the prison may confiscate the letter or deny it. A less obvious one is that most prisons do not allow you to send blank paper, art supplies, or extra envelopes or stamps – demanding instead that the prisoner purchases those from the prison itself.
Prisoner support used to one of the main issues in the punk activist community, but over the last decade prisoner support seems to have been somewhat overlooked in punk. As I stroll through our feed on social media outlets, I see plenty of comments and photos showing support for those out on the streets marching against police brutality. That’s great! …But our support cannot end there. The United States has the largest prison population on the planet. People are being incarcerated everyday. Those on the inside need our support.
PROFANE EXISTENCE has always been on the forefront of letter writing campaigns and getting issues of PE to those locked up behind bars. Last week we received our first letter to the new address in WV from someone on the inside. Getting letters like this is a mixed feeling. On one hand you are happy to receive it, to write the person back and to hopefully give them something to look forward to. On the other hand, it’s a grim reminder of the disgusting prison system that locks people up like animals; separating them from the outside world, from friends and from loved ones… Always knowing that it could easily be you in their shoes.
Although the PE zine hasn’t been as active in recent years, we plan on resurrecting it in 2015 and it will remain free to prisoners. In the meantime we have plenty of copies of old issues lying around that are free to prisoners and we are always happy to write a letter. If you or someone you know is on the inside and want some issues of PE or just a punk to correspond with, please write us at either our WV or CO address. We have a long list of volunteers that are happy to contribute to writing campaigns and would love to hear from you
Love and Support.
The Profane Existence Collective 2014
PO Box 647
8793 West Colfax Ave
Crass has such an established legacy within punk, anarchist, artistic, and radical circles that it seems somewhat absurd for me to keep asking questions about them. Yet, whenever I think I have a firm grasp upon the thoughts, actions, and art of the people involved in Crass, my grip is weakened by their defiance of expectations, nuance of complexity in their continuing work, and their adamant refusal of labels. Perhaps this is their greatest gift to us, i.e. their constant shaping of straight lines into question marks and their insistence on holding up a non-forgiving mirror not only to themselves but also to all of us. In some ways, Crass therefore has a philosophical position not too dissimilar from Socrates, that is, they are somewhat like sand in that the firmer a grasp you think you have on them and their thoughts and art, the more they slip through your fingers. The very debate surrounding the re-mastering and re-issuing of the six Crass LPs is a case in point on the open discussion they continue to inspire. Whether you are a purist expecting these artists to live up to your idea of anarchy and not “sell out” or a sympathetic consumer hopeful the re-masters will somehow reach new audiences that other formats might not, they have at the very least evicted a reaction from the mainstream and punk rockers alike (inspiring love and adoration from anarcho/crust followers who will never again have as inspirational an example as Crass, as well as visceral dislike, criticism, or even hatred from the likes of the Exploited and Special Duties).
And so, we can continue to discuss and debate what Crass is and was. Central to this is the question, what did Crass write? Did they perform poetry? Punk rock? Noise/free jazz? Pop songs? Political manifestos? One thing seems certain, that Crass wrote, performed, and recorded what they wanted to, regardless of whether it would meet punks’ approval, or have the slightest measure of convention, accessibility, and least of all marketability. Yet, there is a relatable aura of authenticity surrounding Crass that punk audiences did (and continue to) relate to, even when they themselves were the target of Crass critique. At one point, they were outselling the top acts in Britain, all from their country home, utilizing only independent and D.I.Y. networks. And if you doubt it, you were (and still are) welcome to write or visit to discuss with the actual artists. They have nothing to hide, for they live according to their principles and pleasures.
If we take them at their word, and in this case I believe we should, Crass wrote love songs, though as aesthetically far from the doo-wop and bubblegum sounds that label is so often associated with. In their first experiment in long-form free-jazz/punk Yes Sir, I Will, Crass addresses the precise question of what they are and what they sing about. Outraged by the question of “why don’t you write love songs,” Libertine shouts, “Everything we write is a love song.” In other words, on a record focused on anti-war messages, love for the lives destroyed by war and love for those who might be saved by peace is the guiding inspiration. Ultimately the anger and passion contained within their art was done out of love for the people and goodness within the world, as well as the hopeful love of a future world and a pure freedom. This love, however, must be unconditional, and the aphorism from Penny’s print (from Exitstencil Press) of “Love is All or Love is Not at All” was clearly the guiding light for the 2014 version of Yes Sir.
On the centennial year of World War I, Penny Rimbaud and Eve Libertine assembled a group of diversely talented musicians to perform Penny’s revision of the “Yes Sir” poem. This was only to be performed once (as are all improvisations), at the annual Rebellion festival in Blackpool. Though Crass itself never performed in commercial venues, this ensemble performed at the largest punk festival in Britain (and one of the largest in the world). Of course such a large performance carries certain risks regarding sound as well as audience reception. To heighten expectations and excitement, this performance inaugurated this year’s Rebellion festival, as it had the opening slot in the Empress Ballroom on Thursday afternoon. The performers walked out onto a solemnly lit stage to the sound of your typical applause, heckling, and hoots-n-hollers. Penny grasped his microphone and said, “We’d like to dedicate this set to all those who have died, are dying, and will continue to die in the killing fields of political and corporate madness. And blessings to the people of Gaza.” Immediately following this dedication, much to my (and I suspect others’) surprise, the band launched into the opening chords of the Who’s “My Generation,” setting the stage for a recollection and rumination on the punk generation or so-called ‘punk movement.’ This would prove to not be the last of their musical departures from the three-chord, fast-paced accepted punk formula.
This version of Yes Sir, I Will was not a simple rehashing of the 1983 Crass record. No, this was both a re-writing and a re-imagining in word and sound. Some of the original “Yes Sir” shined through, such as Penny’s beautiful and Beatlesesque “what did you know, what did you care?” though sung in this live performance in a lower register than the original record, providing a melodic, almost lullaby-like reprieve from the sonic tidal wave that was occupying the ballroom. Eve Libertine also brought in the classic Crass “Fight war not wars,” “everything we write is a love song,” “if there were no butchers, what would people eat?” sections originating not only in the 1983 Yes Sir but also from Crass material spanning their entire recording career. Pen’s “Acts of Love” also shined in at times, most especially in the opening verses. Yet, despite these aspects of original, older work, the Rebellion performance definitely added components of 21st century culture and technology.
For instance, a particularly poignant moment in the performance was when Penny declared that while people are starving in the world, too many of us are “tapping tittle tattle texts” and “sending selfies to ever-absent friends” at which point the music ceased and the performers all took phones out of their pockets. “Hello? Where are you? Hello? No, I can’t talk now.” This was a brilliant display of the distracting, self-absorbed, and rude qualities that mobile technologies have disseminated. There were also moments of reflection upon Pen’s lifetime, ranging from references to the Beatles, to engagement with punk rock, to critiques of Hollywood, media, and war.
To those who were there, it should come as no surprise that Pen would describe the sound as inspired by a “Zappa meets Coltrane” space. There were no breaks here in the long-form improvisation. And in addition to the typical rock instrumentation of drums, bass, and guitar (though I don’t mean to belittle these musicians as typical, as they were far beyond that), there was also a wonderful jazz sensibility and complexity added by saxophone and cello. Sonic registers typically associated with punk spaces? No!…and therefore all the more shocking and powerful. Also incredibly important to the success of this performance was the visual aspect. The contrast between Penny moving, jumping, and marching around the stage and Eve solemn entrapment at the microphone provided a visual stimulus that nicely complemented the sonic aesthetic.
Behind the musicians flickered brilliant images by Gee Vaucher, fluctuating seamlessly between beauty and innocence, to death and violence. These images nicely complemented Penny’s and Eve’s cries for us to take responsibility, for us to look beyond mere negative blaming and start looking toward positive action. Pen later told me that when you point your finger to blame someone/anyone, you should really be looking into a mirror, “the responsibility is ours.” I therefore like to think of Yes Sir, I Will in its new incarnation as an invitation to self-reflect, both for punks and everyone else. We are invited into a discussion about what authority means, who is deserving of blame, and what we want to do. After roughly 45 minutes, the jam came to an end, and the performers left the stage to loud applause. We had all been on a journey of sound and ideas quite unlike anything else that would grace the stage at Rebellion for the rest of the weekend.
Is this punk rock? In that it defies expectations of a listening audience, yes. In that there is a radical political message prompting not complacent agreement but active engagement, yes. In that it was performed by three members of punk’s most important band, yes. However, the most encompassing answer I can offer (and one that I would like to think Pen, Bronwyn, and Gee would agree with) to the question of ‘is this punk rock’ is who cares. Why is it important that we classify art and thought? It simply is, and if that means that some punk rockers may not accept it, so be it for it shall be their lost opportunity at reflection, experience, and perhaps even love. They have challenged us to embrace the “fuck you” to institutions of power and murder, but also to eventually move beyond this visceral anger towards a state of universal, unconditional love. I know the new script will be widely disseminated eventually, and I hope we are all open enough to encounter it and truly grapple with the ideas and invitation therein.
For those of you who didn’t know, Doomed Society is a weekly(ish) punk podcast that appears every Sunday on Brutal Existence Radio. But before I got involved with Brutal Existence, Doomed Society was a part of the Profane Existence Radio podcast family. I had pitched the idea to Dan and Jeremy, and they graciously let me unleash my show on unsuspecting ears. I guess being a columnist and reviewer gave me an “in”.
Well, fast forward five years, and I’ve finally made it to episode 100. Given that a whole shitload of exciting changes have happened within PE in the last few weeks, I decided that it would be a great idea to dedicate this milestone episode to the folks who helped me start on this road to podcasting glory: Profane Existence Records.
That’s right – I have a two hour block of political punk from the label that meant so much to me growing up, and still means so much to me to this day. I’ve started with ancient releases from 25 years ago, and concluded with newer future classics. As usual, I haven’t been able to fit in everything I wanted to play… so you can expect a bonus episode in the future.
I’ve organized the show chronologically. And I’ve mixed legendary bands with less-known bands. It’s all punk, it’s all awesome.
In this latest of the posts spotlighting those in our community who are into actively pursuing healthy lifestyles I am happy to bring you a conversation with Comrade Black. Many know that Black is a prolific poster on PE, is actively devoted to animal rights and politically aware. I am happy to bring you Black’s story about fitness and health.
I’ve read that you were into martial arts as a young person, has fitness always been important to you? Or has dedication to physical activity been a more recent occurrence?
Physical fitness has been a big part of my life at some points and not at others. Kinda had an on again off again relationship with fitness for many years to be honest.
I started Judo at 11, in large because I was picked on growing up because I was so small in a town known for sports and jocks (the sign on the way into town actually reads “Western Canada’s Biggest Little Sports Center”). I wanted to be able to defend myself. Turned out Judo wasn’t that useful for that, but once I started I loved it. I competed in tournaments across Saskatewan, and won a few silver and bronze metals. I even went to Judo camp at 15 yrs old where I was lucky enough to train with people like Sensie Hiroshi Nakamura and Ralf Ibanez.
Also when I was really young I was a geeky kid and was super into professional wrestling, and super hero comic books; so I always wanted to be huge and built and strong. I convinced my mom to buy me weights from an auction sale when I was around 11 years old and for a few years I lifted as much as I could. I didn’t really know what I was doing as I had no training but I would read bodybuilding magazines and try to make sense of it. I did get pretty strong, I could almost do an iron cross on the rings when I was in gymnastics in about grade 8, and for a lot of years the only reason I passed gym class each year was gymnastics, weightlifting, and the ne or 2 years we did Olympic style wrestling. Years of Judo helped me with all of those.
I did judo and weight lifting until I was about 16 and started getting to much into traveling and drinking, and left town to live on the streets. When I was around 20 II spent about two taking Muay Thai kickboxing, and submission grappling and later took Jujitsu. After that I ended up back on the streets again. I have also taken a small amount of Ninjitsu here and there.
It has been an on again off again thing throughout those years; but what’s different now is that I really fucked my body up from all of it, so now paying attention to health isn’t an option – it’s fucking necessary just for me to be able to function day to day. If I don’t eat well, sleep well, and keep fit I deal with more pain.