Front and back cover of The Aesthetic of Our Anger - Anarcho-Punk, Politics and Music
Mike Dines and Matthew Worley (eds.). 2016. The Aesthetic of our Anger: Anarcho-punk, Politics and Music. Minor Compositions / Autonomedia: Williamsburg, Brooklyn.

COMING THIS AUTUMN, a new edited collection of essays on different aspects of the aesthetic, politics, culture and music of anarcho-punk:

Punk is one of the most fiercely debated post-war subcultures. Despite the attention surrounding the movement’s origins, analyses of punk have been drawn predominantly from a now well-trodden historical narrative. This simplification of punk’s histories erases its breadth and vibrancy, leaving out bands from Crass to The Subhumans who took the call for anarchy in the UK seriously.

Disillusioned by the commercialization of punk, the anarcho-punk scene fought against dependence on large record labels. Anarcho-punk re-ignited the punk ethos, including a return to an ‘anyone-can-do-it’ culture of music production and performance. Anarcho-punk encouraged focused political debate and self-organised subversive activities, from a heightened awareness to issues of personal freedom and animal rights to the development of local cooperatives where musicians, artists and like-minded people could meet.

The anarcho-punk movement helped to reignite a serious anarchist movement in the UK and inspired actions challenging the Thatcher-Reagan axis. The Aesthetic of our Anger explores the development of the anarcho-punk scene from the late 1970s, raising questions over the origins of the scene, its form, structure and cultural significance, examining how anarcho-punk moved away from using ‘anarchy’ as mere connotation and shock value towards an approach that served to make punk a threat again.

Contributors: George McKay, David Soloman, Russ Bestley, Ana Raposo, Helen Reddington, Rich Cross, Matt Grimes, Pete Webb, Michael Murphy, Alistair Gordon, Mike Dines, Pete Dale, Steve Ignorant, and The Free Association.

More information will be available from the Autonomedia site as the publication date nears.

Omega Tribe interviewed

Omega Tribe badges

“Angry songs and bitter words – have you heard it all before?”
Omega Tribe


“I THINK THAT it’s lovely that people are still interested and enthusiastic about it and the music; it’s really sort of humbling,” says Omega Tribe frontman and lead vocalist Hugh Vivian about popular reaction to the reforming of the much-admired 1980s’ anarcho band. “It is definitely encouraging,” agrees drummer Sonny Flint. “Yes, overall it’s been a really positive response.”

News of the band’s reformation was announced on Facebook in mid-August and since then there’s been a steady stream of updates from the photo archives and details of the band’s first new live dates later in 2016. Omega Tribe originally formed in 1981, as a four-piece; releasing the celebrated Angry Songs EP on Crass Records in 1982 and the equally impressive No Love Lost LP on the Corpus Christi label the following year. The band played live and toured with artists from across (and beyond) the anarchist punk scene, with the group picking up many plaudits for their distinctive sound. Omega Tribe’s proudly independent musical sensibilities provided an effective contrast with many of the other punk bands with which they shared a stage. The band’s pairing, at different times, with both Poison Girls and with Conflict (and a whole lot of other artists) made for many a memorable gig.

In 1984, Sonny Flint joined the band, taking over the drum stool from Pete Shepherd (who moved the role of percussionist). That year, guitarist and founder member Pete Fender (who also worked as producer on the band’s studio work) left. The band’s 1985 twelve-inch It’s a Hard Life would be Omega Tribe’s final vinyl release, and heralded a marked shift in musical direction. Recordings and live gigs now featured flautist and saxophone player Jane Keay. To the band, Jane seemed more like a session musician than a full member. “She wasn’t very rock’n’roll, so to speak,” says Sonny.

But if things appeared to be evolving for the band musically, the departure of lead vocalist and guitarist Hugh Vivian later in 1985 was the first in a series of unfortunate events. “When Hugh left the band in 1985, it was quite a shock,” admits Sonny. “The gigs stopped, Jane disappeared and I think Pete Shepherd decided to throw in the towel too having done a tour playing percussion.” As only Daryl and Sonny remained, there was no choice but to rethink. “Daryl decided he would switch to the guitar and write songs,” explains Sonny. “We got bass player Nigel Mogg in for a while, and another sax player as well.” Renaming the group as “The Tribe” it proved to be a productive period; for writing new material, at least.

“The songs sounded a bit like Madness and The Jam,” Sonny suggests. “We recorded lots of demos, and about an album’s worth of material in Pete Fender’s studio. But we didn’t seem to do much with it.” As the band considered its next moves, Sonny found himself distracted. “In 1987, I left the band to follow a girl to Devon. It wasn’t because I disliked what The Tribe were doing.” Despite this latest departure, Daryl was keen to continue and rebuilt the band with new members. But these efforts were to prove short lived. In 1988 The Tribe broke up, and Sonny and Daryl lost contact.

So is this the first time since the band split that its former members have considered getting back together? “We reformed in the 1990s and we did a gig at Vi Subversa’s 60th birthday,” recalls Hugh. “And then we carried on playing together under a different name for a while.” The incognito outfit “Charlie” showed some potential, but that revival lacked the necessary traction.

Omega Tribe’s proudly independent musical sensibilities provided an effective contrast with many of the other punk bands with which they shared a stage

Sonny first raised the idea of getting the crew together again back in 2012. “I think it was about four years ago and sent [bassist] Daryl [Hardcastle] a message about it,” he recalls, “but he only responded this year – which was an unexpected nice surprise.” Daryl remembers that it might have been more than the one message. “I kept being hassled by the drummer to have a play!” he says. “You were hassling me so much”, says Daryl, looking at Sonny. “I wasn’t hassling you!” Sonny insists.

In contrast, Hugh just found himself getting involved. “I don’t ever really remember being asked about the idea really,” he says. Everyone agrees, though, with Daryl’s account of the sequence of events. “I said ‘OK, let’s have a jam then.’ Then I went to work at Hugh’s school, and said to him ‘we’ve got a rehearsal on Sunday, you wanna come?’ and he said ‘yeah, alright. I’ll come’.” Then things happened really quickly. “So I came and had a jam on Sunday”, Hugh adds, “and then on Monday there was an official Omega Tribe Facebook page.” A Facebook page “that some bastard did!” reveals an unrepentant Daryl. “But I didn’t mind,” Hugh stresses. “We might as well do this while we can. We may as well have a laugh. We will all be dead one day,” insists Daryl. It was clear that everyone was feeling equally impulsive and enthused. “Exactly!” says Sonny.

The returning Omega Tribe will be a four-piece. The three original members will be joined by new recruit Keith Gilles, who will take on Pete Fender’s former role of lead guitarist. “Pete cannot commit at the moment to rejoining the band,” Sonny explains, “although he says he has not ruled it out.” In the early 1980s, during the first years of Omega Tribe’s existence, Keith fronted the bands A Taste of Honey and Tender Object. In recent years, Keith and Sonny have worked together on a number of different musical projects. “I’ve always admired anarcho-punk as far back as when I first became aware of Crass and Poison Girls as a spotty 15 year old, but it wasn’t a road I went down as a performer,” concedes Keith. He was drawn to the idea of joining the Omega Tribe reunion “by the quality and profundity of the band’s material, and the strength of the ethos”. It seemed a natural fit. “Politically and philosophically, this is where my head lives,” he affirms. “It also helps that they’re thoroughly nice people.”

To begin with, ambitions were modest. “Daryl and I initially wanted to get together to work out how to play Hit Me With Your Rhythm Stick as a sort of challenge,” explains Sonny. “And then it became apparent Hugh was going to join us.” So there was nothing decisive that made this the moment to bring Omega Tribe back. “The timing was pretty random, wasn’t it?” suggests Hugh. “Yep,” agrees Daryl.

Omega Tribe - in rehearsal - 2016

How did that first band rehearsal in decades work out? “Not bad considering it’s been over 30 years!” says Sonny. “Daryl is a top bass player, so it wasn’t difficult for the rhythm section to lock together again. Hugh has got a strong voice and that’s still there.” Hugh concedes “it was a bit challenging to remember everything, but it all came back eventually.” The band took advantage of an obvious digital ally. “Thank god for the internet”, says Hugh. “We can find our songs on there, to remember how they go!” Daryl confirms that streaming the band’s songs from the web was indispensable: “It’s true!” he says.

“The timing was pretty random, wasn’t it?” suggests Hugh. “Yep,” agrees Daryl

So has it been a surprise to see the esteem and affection that exists for Omega Tribe, so many years after the band wound up? “Yes it has,” says Sonny. “It’s a surprise how people and fans have come out in support of this reunion. In the first few days of starting a Facebook page a few hundred people joined our page with lots of positive comments and gig offers from as far as USA.” The scale of that reaction was certainly bigger than the band had anticipated. “It’s a bit shocking really,” admits Daryl. That feedback has encouraged the band to recognise that there is an audience out there, interested in them and keen to get involved in what they’re planning. “That’s the nice thing about reforming and bringing people together,” says Hugh. “It’s quite affirming.”

And has the fact that other artists, such as Hagar the Womb, and now Dirt, have decided to reform encouraged Omega Tribe? Does that make it feel like there’s a community or a scene to connect to? “Yeah I think that’s true, isn’t it? Because there are some events and networks we can tap into,” says Hugh. That’s something reinforced by a sense that there’s a wider punk renaissance to be a part of. “I was talking to Dave Morgan (the current drummer of the band Alternative TV) the other day,” adds Sonny, “and he was saying that right now there seems to be a resurgence in punk.” Some of Omega Tribe’s old connections can now be remade. “I’m looking forward to seeing Gary of Dirt”, says Daryl.

Over a short space of time, Omega Tribe developed a very diverse musical catalogue. Is the reformed band planning to perform songs from across the band’s original repertoire, or to focus on a particular period? “It’s not like we are David Bowie and we got 27 albums to choose from,” protests Sonny. “Christ! We only had one album and two singles!” agrees Daryl. Hugh clarifies that the band will be performing songs “covering the whole period of the band… although probably leaving out material from our very early formative stage.” But revisiting material from those earliest days appears to be an intriguing idea, at least for some. “We could teach Sonny how to play ‘System in Decay’,” suggests Hugh. Daryl is clearly appalled at the idea. “Oh no, ‘System in Decay’?” Daryl mutters under his breath. “You wouldn’t wanna hear that.” It’s a song from years before Sonny joined the band. “No?” he asks. “No,” Daryl confirms.

“System in Decay” appears to be more than just an early song. “We were actually called System in Decay, early on”, Daryl recalls. Hugh is unconvinced by the memory. “Really?” he asks. “Were we?” Daryl is certain. “Yeah, yeah,” he insists. “We were called System in Decay before we were Omega Tribe.”

“Some of the lyrics may need a little tweak. But only a minor tweak. The basic ideas are still very pertinent”

The band’s retrospective CD compilation Make Tea, Not War, first released in 2000, was well received (along with its selective vinyl version) and all copies quickly sold out. Is the reformed band hoping to reissue (and maybe to update) that? “Well, it would be nice to – wouldn’t it?” says Hugh. “Yeah, it would be nice,” agrees Daryl. There are currently, however, no firm plans.

Do the band think that the lyrics and sentiments of Omega Tribe’s original songs feel as relevant and pertinent as ever? Will they be changing or updating any of those words to reflect the world of 2016? “I think some of them may need a little tweak,” says Hugh. “But only a minor tweak. The basic ideas are still very pertinent.”

Are the band hoping to reach out to those who never knew the original incarnation of Omega Tribe, or were not around at the time? “Yeah, the more people who are touched and moved by anything you are involved with, the better really,” suggests Hugh. “So we would never limit it. We wouldn’t say this is only for people who are…” Sonny finishes Hugh’s sentence for him: “…old bastards like us, yeah.”

The three band members then discuss the likely make-up of their 2016 audience. “It’s funny, because in the old days they were saying that we were ‘preaching to the converted’,” recalls Daryl. “It was a thing that was banded about: ‘You are preaching to the converted.’ As if everybody agrees with you before they even walk in the hall. Maybe it will be a bit different this time, because there have been a lot of younger people connecting with us on Facebook.” Sonny is not immediately convinced. “Did you see our Facebook demographic?” he asks. “Our biggest audience is males between the ages of 45 and 54! But things could change, I suppose.” Hugh appears to be more optimistic about the possibility of reaching out to a new, and maybe a younger, audience. “Well, our core audience may well be of a person of a similar age having had a similar kind of experience,” he says. “But the question is ‘are you hoping’. We’d never kind of say ‘No, no we are not hoping reach a younger audience’. For anyone who never saw anything like that at the time, it will be a new experience for them, won’t it?”

And is the band working on new material as well? Does Omega Tribe have new things to say and ideas to communicate? “Yeah definitely,” says Hugh. “There are always new things to communicate,” adds Daryl. For Hugh, new creativity is key. “I think making new things and creating new things is the most important thing,” he says. “Making something that never existed before is the best thing.”

“There is no three year plan,” affirms Hugh. “We are going to see how it goes”

With the first gigs now booked, and new offers coming in, how far ahead are the members of new Omega Tribe looking? “I think we are seeing how things go, aren’t we?” suggests Hugh. “Of course,” Daryl concurs. Much therefore depends on the reaction that greets the band when starts to play live once again. “There is no three year plan,” affirms Hugh. “We are going to see how it goes.” The other factor is time; or the lack of it. Do the musicians of Omega Tribe all have the time that they would like to be able to commit to the band? There is a chorus of “No”s. “I’ve got a bloody job,” says Hugh; “No way, I’ve got a bloody job too, I run a business,” adds Daryl; “Job,” says Sonny simply.

If Omega Tribe had never reformed again, how would its current members have liked the band to have been remembered? “As a band that inspired and supported people,” says Hugh thoughtfully. “It would be nice to think that we inspired people to do something.” And what would the band hope that the experience of hearing or seeing Omega Tribe will be like for an audience today? “Fun, engaging, moving,” suggests Hugh. “Interesting,” says Daryl. Sonny is pretty clear on the issue: “It should be good fun, shouldn’t it?”

Motivated and excited, the members of the relaunched Omega Tribe appear up for all of it. “While we are sat here, can I play you my new song?” asks Hugh. “It goes like this…”

Many thanks to Hugh, Daryl, Sonny and Keith. Badges photo: Jennie Long; rehearsal photo: Sonny.

Omega Tribe gigs

  • 3 December 2016: appearing as part of an anti-fascist benefit gig at the 1-in-12 Club in Bradford
  • 19 February 2017: appearing as part of ‘Vi Day’ during the Another Winter of Discontent festival at the Boston Arms, Tufnell Park, London
  • 24 March 2017: appearing as part of a three-day event, presented by The Surplus People, at the Green Door Store in Brighton

Omega Tribe 2016

Poster for AWOD 2017 - Vi Day

Still from Well Done, Now Sod Off

‘Well Done, Now Sod Off’
Starring: Chumbawamba
Director: Ben Uwin
Hyde Park Picture House, 73 Brudenell Road, Leeds LS6 1JD
18 September 2016, 15:30.
Details online (donation on the door)

We couldn’t think of a more perfect film to screening in conjunction with the Leeds Music Us exhibition than Well Done, Now Sod Off, a potted and often hilarious history of Chumbawamba (90mins, United Kingdom, 2000)

Footage and interviews from the last two decades retrace the early days of communal living and involvement in the miners’ strike of 84-85, their survival through the Thatcher years and a barrage of bad press, surfacing in the nineties wiser but unrepentant.

With an uncanny knack of upsetting people and ‘shooting themselves in the foot’ they surprised themselves and the rest of the world by selling 5 million albums in America. Tagged ‘One Hit Wonders’ they ensured they’d never be invited to another award ceremony again by dousing the Deputy Prime Minisster at the Brit Awards in 1998. This is an ongoing punk saga in an age of manufactured bands.

TICKETS: Suggested donation of £5

View the trailer for the documentary (privacy settings set on Vimeo mean it can’t be embedded and played here…)

Poster for Trespass 2 - 17 September 2016

Trespass #2
Saturday 17 September 2016, 19:00–21:30
Secret location, Waterloo, London (details to be released on the day)

Down by the river something is stirring. Colourful people with mohawks and dreadlocks gather. Music can be heard in the distance and it’s getting louder, the sound of blistering punk rock; you can just make out one word…. Trespass!!

Punk Ethics & DSI Studios take back the beach of the River Thames, bringing London’s punk scene together to shout against gentrification in the capital, the corporate take over of public space, and a system that is destroying our city.

This is more than just gig this is a punk rock protest!

Line up:

London’s anarcho punk legends make a long awaited return

The Restarts
London’s finest street punks

London’s new generation of punks

+ a couple of very special guests including Garden Bridge protesters Thames Central Open Spaces giving an update on the campaign.

This gig is free to everyone. The space is free to everyone. Let’s keep it that way.

Bring food, drink and a positive attitude.

The story of ‘Trespass: Punk on the Thames’ 26 September 2015

Conflict - punk on the Thames - Trespass #2

UPDATE, 18 September 2016: Guy Smallman’s photos from the event are available for preview on his site.

Thumbnails of pictures from the Trespass #2 event 2016

Baby Fire with Even Libertine

Eve Libertine performs gigs in Antwerp and Amsterdam later this month, as a guest vocalist of Baby Fire.

Baby Fire (featuring Eve Libertine)
Thursday 29 September 2016
Het Bos, Ankerrui 5-7, B-2000 Antwerp
More details available online

Baby Fire (featuring Eve Libertine)
Friday 30 September 2016
OCCII (Onafhankelijk Cultureel Centrum In It), Amstelveenseweg 134, 1075 XL Amsterdam
More details available online


Baby Fire is an all-female trio from Bruxeles which combines the energy of post-punk with feminine frailty. The strings are rough, the melodies catchy, the voices enthrall. Baby Fire is:

  • Dominique Van Cappellen-Waldock: guitar & vocals
  • Gabrielle Seguin: bass & backing vocals
  • Isabel Rocher: drums & backing vocals

Eve Libertine
She was one of the two female vocalists (along with Joy De Vivre) who worked with the influential British anarcho-punk band Crass. Her works with the band include the controversial single Reality Asylum, as well as performing most of the vocals on the group’s third album, Penis Envy (1981), the lyrics of which have a heavy anarcha-feminist content

The band’s debut album was released in 2011 on Cheap Satanism Records. Special guests included Eugene S. Robinson (Oxbow) and Dana Schechter (Insect Ark).

Their second album, The Red Robe, was recorded at Dial House (Essex, UK) by former Buzzcocks member Tony Barber and released on Off Records in October 2014. It featured duets with Eve Libertine and Penny Rimbaud from Crass.

Gold, the third Baby Fire album, will be released in the autumn of 2016. Hugo Race (ex-Nick Cave & the Bad Seeds) will be remixing a track, which will be released separately later in the year.

Baby Fire has opened for Godspeed You! Black Emperor, Lydia Lunch, Laetitia Sheriff, Part Chimp, Neptune, etc. and played shows in the US, France, Germany, Holland and Belgium.

Steve Ignorant - Punch and Judy

Steve Ignorant and CP Lee: ‘Aren’t We All Just Puppets Really?’
Sunday 13 November 2016, 15:45.
Louder Than Words festival
The Palace Hotel, Oxford Street, Manchester, M60 7HA
Tickets available online

In this very special event, two great friends of Louder Than Words Fest STEVE IGNORANT and CP LEE get together in conversation, considering the theme ‘Aren’t we all just puppets really?’. Drawing on their diverse and personal experiences of life and performance as well as their shared wider interest in music hall, Steve and CP will take us on a journey across some surprising artistic endeavours, including some that involve violence and sausages and others that involve the police and crocodiles. Make sure you join us – you’ll be pleased as Punch!

Penny Rimbaud is also appearing at the 2016 Louder Than Words event on the same day.

CRASS CO-FOUNDER PENNY Rimbaud has a busy schedule of appearances this autumn, including the following events:

Small Wonder exhibition - 2016

Tales of the life and times of Small Wonder Records

Tales of the life and times of Small Wonder
Friday 23 September 2016, 18:30ish
Hoe Street Central, 3 Central Parade, Hoe Street, Walthamstow, London E17 4RT

As an event during the Small Wonder exhibition, Penny Rimbaud will be part of a question-and-answer session: ‘Tales of the life and times of Small Wonder Records’, the label that in 1978 unleashed Crass onto the unsuspecting public.

Patriotism & the ‘great game’: the impact of Wilfred Owen’s poetic testimony

Patriotism and the ‘great game’
12 October 2016, 18:00
River Room (2nd Floor) – King’s Building, Strand Campus King’s College London, London, WC2R 2LS.
Free entry – but advance booking required

Rimbaud joins an academic panel to discuss Wilfred Owen’s devastating accounts of the conditions of war during World War One and his denouncement of the patriotism that persuaded an entire generation of young men to ‘step in line’ and play the ‘great game’ of war. This patriotic call to arms was a global affair, as can be seen in the first verse of A Lockhead’s poem, published in both the Times and The Poverty Bay Herald, New Zealand on 26th January 1915.

This discussion serves as an introduction and accompaniment to the performance of ‘The Pity of War’, which will take place on Thursday 13 October in King’s Chapel. Penny Rimbaud will perform the war poems of Owen accompanied by Liam Noble and Kate Shortt on piano and cello with visuals by Gee Vaucher. Both panel discussion and performance seek not to glorify victory, but to remember the terrible darkness brought by war.

The Pity of War

The Pity of War
13 October 2016, 18:30-20:30
Chapel – Strand, London WC2R 2LS
Tickets available online shortly

Penny Rimbaud will recite the war poems of Wilfred Owen accompanied by Liam Noble and Kate Shortt on piano and cello with visuals by Gee Vaucher.

‘I was a war baby who, like many, didn’t meet their father until they were three or four, which too often was too late. My father brought the war home with him. He never much spoke of it, rather he was imbued with it; it seeped from his every pore. He was distant, absent and cold, and he made me feel fearful. Then how was I to know what horrors had so muted him, horrors which in his imaginings and his dreams would forever be present? He would speak of “the real world” and how he’d fought for my freedom, but as I grew older I became increasingly cautious of the conditional nature of that freedom. I’d seen pictures of the death camps, knew about atom bombs and was aware of the carnage, but, beyond a sense of uninformed sorrow, I grew to feel loathing and contempt for what seemed be the utter senselessness of it all. My father’s war and his real world had to me become synonymous.

In my late teens I was introduced to the poetry of Wilfred Owen and from one line in his “Strange Meeting” I was awoken to an entirely new way of being – “I am the enemy you killed, my friend” – no malice, no terrible vengeance, only love; a true expression of human possibility beyond the bitter brutality of jingoistic cant. In Owen’s selfless tenderness I had at last found something that made sense within the madness of the warring material world; we are no more, no less than the other, divided only by the fall from grace. It was from this illumination that I became an active pacifist committed to the promotion of peace and love.

It is, then, only natural that I chose to commit myself to present Owen’s poems throughout the centenary years of the euphemistic ‘Great War’. In doing so I am able to honour the great gift that he gave through his life, his works and his untimely death.’

Rimbaud in performance

Penny Rimbaud, TMDG conference, Argentina

Penny Rimbaud
TMDG conference [international design conference]
Sunday 16 October 2016 (TBC)
Av. Juan B. Justo 3525, Peralta Ramos Oeste,
B7602EHJ. Mar del Plata, Buenos Aires, Argentina
Tickets available online

Penny Rimbaud pledges to take “art, politics and common-sense nonsense” during a trip to Argentina part-sponsored by the British Council. Details of other events during the trip are still to be announced

An evening of poetry and jazz, Canterbury

An evening of poetry and jazz
Thursday 20 October 2016
Free Range
Water Lane Coffeehouse, Water Lane, Canterbury Kent CT1 2NQ

Described as ‘one of the country’s great trombonists’ (BBC), Annie Whitehead is joined by Penny Rimbaud and the immensely experienced singer, bassist and producer Jennifer Maidman for an evening of poetry and jazz.

Penny Rimbaud - portrait - Louder than Words

‘Open Door, Open Heart’, Louder than Words festival

‘Open Door, Open Heart’
Louder than Words festival
Sunday 13 November 2016, 14:00
The Palace Hotel. Oxford Street, Manchester, M60 7HA
Tickets available online

We’re delighted to welcome back Penny Rimbaud to Louder Than Words 2016.

In ‘Open Door, Open Heart’ Penny Rimbaud and John Robb discuss the meaning of peace and love in a world which might so easily appear to practice the opposite – ‘There is love if we make it’.

Crass founding member Penny Rimbaud has been writing poetry, song lyrics, philosophy and memoirs for over 50 years. A drummer, performance artist, environmental activist and philosopher, he claims “breadmaker” as his most prevailing occupation. Rimbaud and Crass’s lasting influence on youth culture are a testament to the original importance of their words and deeds. Having formed a collective in 1967 to live outside of the status quo, Penny Rimbaud continues to inspire new generations of artistic rebels.

Highly regarded as one of England’s great rebel poets, Penny Rimbaud is a prolific author and fearless explorer of possibilities in life and art. Over the three decades since Crass disbanded he has been involved in a myriad of arts projects, published over 14 books, and released vast ranging music including free form jazz, spoken word and symphonic punk.

An undoubted festival highlight, join us for this very special event!

Steve Ignorant is also appearing at the 2016 Louder Than Words event on the same day.

Penny Rimbaud and Hugh Metcalfe

Penny Rimbaud and Hugh Metcalfe
Tuesday 15 November 2016, 20.00
The Klinker
Apiary Studios, 460 Hackney Road, London E2 9EG

Dada poet Hugh Metcalfe is joined by Penny Rimbaud on percussion to excrete tales of shite, crap and general unwholesomeness.

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