Crass

Crass

Company type	Collective, punk rock band
Industry	Music, art
Founded	1977 in Epping, Essex, England
Founder	Penny Rimbaud, Steve Ignorant
Headquarters	Epping , England
Area served	United Kingdom, international punk scene
Products	Music records, sound collages, printed materials, films

Crass was a pioneering English art collective and punk rock ensemble established in Epping, Essex in 1977, dedicated to advancing anarchism as both a political philosophy and a way of life, as well as a form of resistance. They were instrumental in popularizing the anarcho-punk movement within the punk scene, championing causes such as direct action, animal rights, feminism, anti-fascism, and environmentalism. The group adhered strictly to a DIY approach across their records, sound collages, printed materials, and films.

The band employed stencilled graffiti throughout the London Underground and on advertising hoardings, orchestrated squatting initiatives, and coordinated various political demonstrations. Their live performances were marked by black military surplus attire and featured backdrops that merged authoritative symbols like the Christian cross, swastika, Union Jack, and the ouroboros.

While critiquing both punk subculture and youth culture at large, Crass upheld anarchist principles that have continued to shape punk ideology. Their avant-garde integration of tape collages, graphic art, spoken word, poetry, and improvisation connects them to the realms of avant-punk and art punk.

1977: Origins

Crass emerged from an anarchist commune situated in a 16th-century cottage known as Dial House, near Epping in Essex. The band’s inception occurred when commune founder Penny Rimbaud began collaborating musically with Steve Ignorant, who was residing at the house. Ignorant’s decision to form a band was sparked after witnessing a performance by the Clash in Bristol. Meanwhile, Rimbaud brought experience from avant-garde performance groups such as EXIT and Ceres Confusion and was concurrently working on his book Reality Asylum. Together they created initial tracks like "So What?" and "Do They Owe Us a Living?" performing as a drum-and-vocal duo. Initially named Stormtrooper, they ultimately chose the name Crass, inspired by a lyric from David Bowie's "Ziggy Stardust."

Additional members joined shortly thereafter: Gee Vaucher, Pete Wright, N. A. Palmer, and Steve Herman. Crass’s debut live appearance took place at a squatters’ street festival in North London but was abruptly ended due to complaints from neighbors. Herman departed soon after and was replaced by Phil Clancey (known as Phil Free). Joy De Vivre and Eve Libertine also became part of the group. Early tours included performances in New York City, a festival held in Covent Garden, and shows alongside the U.K. Subs in various London venues—often drawing only small audiences.

The band performed twice at the Roxy Club in London; after being expelled for intoxication during their second show, they penned "Banned from the Roxy" and adopted a more disciplined approach—abstaining from alcohol before gigs and donning black military-surplus garments both onstage and off.

They unveiled their distinctive emblem designed by Rimbaud’s associate Dave King, which reinforced their militaristic aesthetic but also led to accusations of fascism. Crass responded by explaining that their uniformity aimed to dismantle the "cult of personality," ensuring no individual member assumed prominence as leader.

The logo fused authoritative icons—the Christian cross, swastika, Union Jack, and a double-headed Ouroboros—symbolizing the self-destructive cycle inherent in power structures. This intentional juxtaposition aligned with Crass’s tactic of employing contradictions to provoke audience reflection. Their intense musical style advocated pacifism, reflecting influences from Dadaism and situationist thought.

Crass favored minimalistic stage lighting—relying on simple 40-watt household bulbs—which resulted in limited quality of live recordings. They were pioneers in multimedia stagecraft by integrating video collages and rear-projected films created by Mick Duffield and Gee Vaucher into their shows while distributing anarchist literature among attendees.

1978–1979: The Feeding of the 5000 and Formation of Crass Records

Crass debuted with The Feeding of the 5000, an 18-track 12" EP released at 45 rpm through the Small Wonder label in 1978. However, an Irish pressing plant refused to manufacture the record because of the blasphemous nature of the track "Asylum". Consequently, the EP was issued without this song, which was substituted by a two-minute silence named "The Sound of Free Speech". This censorship prompted Crass to launch their own independent label, Crass Records, ensuring full creative and editorial autonomy.

Shortly after, a re-recorded and lengthened version of "Asylum", retitled "Reality Asylum", was issued as a 7" single on Crass Records. Although police investigated the band over the lyrics, no legal action was pursued. Priced at 45p—roughly half the cost of standard singles—this release embodied Crass' "pay no more than..." philosophy aimed at affordability, despite VAT errors causing financial setbacks. A year later, Crass Records re-released The Feeding of the 5000 in its entirety ("The Second Sitting"), restoring the original "Asylum" track.

1980: Stations of the Crass and "Bloody Revolutions"

In 1979, Crass unveiled their sophomore album, Stations of the Crass, a double LP funded by a loan from fellow musicians Poison Girls. The record comprised three sides of studio material alongside one side featuring a live performance recorded at the Pied Bull in Islington.

The single "Bloody Revolutions", released in 1980 as a collaborative benefit with Poison Girls, generated £20,000 for the Wapping Autonomy Centre. Its lyrics offered an anarchist-pacifist critique of conventional Marxist revolutionary tactics and responded to violent incidents at a September 1979 Crass concert held at London's Red Lion Square. Intended as a fundraiser for anarchists charged with conspiracy, the event escalated when Socialist Workers Party members clashed with neo-Nazi groups. Crass attributed this turmoil to left-wing factionalism fueled by organizations like Rock Against Racism, though some anarchist factions disputed their viewpoint. Many within the punk community felt that Crass underestimated the threat posed by right-wing aggression.

Additionally, Crass issued the flexi disc single "Rival Tribal Rebel Revel" alongside the Toxic Grafity fanzine, condemning senseless violence and tribalism prevalent among youth cultures. This was succeeded by the double single "Nagasaki Nightmare/Big A Little A". The former delivered potent anti-nuclear messages complemented by fold-out sleeve art linking nuclear energy to weapons manufacturing. The latter track communicated Crass' anti-statist and individualist anarchist ideals with lyrics encouraging personal authenticity: "Be exactly who you want to be, do what you want to do / I am he and she is she but you're the only you."

1981: Penis Envy

Crass’ third album, Penis Envy, arrived in 1981 and marked a departure from their prior hardcore punk style. The album featured intricate arrangements and female vocals from Eve Libertine and Joy De Vivre, while Steve Ignorant was credited as "not on this recording". Its thematic focus centered on feminist critiques addressing marriage and sexual repression.

The closing track, a satirical middle-of-the-road love song titled "Our Wedding", was distributed as a white flexi disc included with issues of Loving, a teenage romance publication. To secure acceptance, Crass posed as "Creative Recording and Sound Services", leading Loving to endorse it as an enhancer for readers’ wedding celebrations. When this ruse was exposed, it sparked tabloid outrage; for instance, the News of the World refused to print the album’s title due to its perceived obscenity. Despite public controversy, no laws were broken by Crass.

Retailer HMV banned sales of the album, and Greater Manchester Police under Chief Constable James Anderton seized copies from an Eastern Bloc record store. The shop owners faced charges for displaying materials deemed "obscene articles for publication for gain". While initial judgments against Crass were overturned by the Court of Appeal, the lyrics to "Bata Motel" were upheld as "sexually provocative and obscene".

1982–1983: Christ – The Album and a shift in strategy

The band's fourth studio release, the 1982 double album Christ – The Album, required almost a full year to complete—a period that coincided with the beginning and conclusion of the Falklands War. This extended production timeline prompted Crass to reconsider their recording methods. As an overtly political collective, they perceived that real-world developments had surpassed their lyrical critiques:

Subsequent outputs—including singles such as "How Does It Feel? (To Be the Mother of a Thousand Dead)" and "Sheep Farming in the Falklands," alongside the album Yes Sir, I Will—adopted a more minimalist sound, serving as deliberate reactions to unfolding political circumstances. In a covert operation, Crass anonymously pressed 20,000 flexi discs featuring a live rendition of "Sheep Farming in the Falklands," which were secretly inserted into other records at the Rough Trade Records distribution center.

Direct action and internal conflicts

From the outset, Crass combined politically motivated stencilled graffiti—addressing themes like anti-war, anarchism, feminism, and anti-consumerism—across locations such as the London Underground and commercial billboards with acts of direct intervention. On 18 December 1982, they played a key role in organizing a 24-hour squat event at West London's Zig Zag club to demonstrate that the underground punk community could self-govern and experience music free from corporate influence.

During 1983–84, Crass took part in the Stop the City demonstrations orchestrated by London Greenpeace, which served as forerunners to later anti-globalization activism. Their final single, "You're Already Dead," highlighted internal disagreements regarding pacifism versus direct action: "Half the band supported pacifism; half supported direct, potentially violent action," recalled Rimbaud. This ideological split led to reflection and some members becoming disenchanted with their optimistic principles. This evolution was mirrored in their subsequent release, Acts of Love, which presented European classical arrangements of 50 poems by Penny Rimbaud celebrating themes of unity, peace, and love.

Thatchergate

Another notable Crass hoax was the "Thatchergate tapes," purporting to be an intercepted telephone conversation accidentally overheard due to crossed communication lines. The recording was fabricated by Crass through editing together clips of Margaret Thatcher and Ronald Reagan, portraying them discussing the sinking of during the Falklands War and consenting that Europe would be targeted by nuclear weapons in a hypothetical US-Soviet conflict.

Copies were discreetly leaked to media outlets via a Dutch news agency amid the 1983 general election campaign. Both the U.S. State Department and British authorities suspected the tape was Soviet KGB disinformation, as reported by the San Francisco Chronicle and The Sunday Times. Although anonymous at first, The Observer connected the tape to Crass. Declassified UK government documents later revealed Thatcher was aware of the tape and discussed it within her cabinet.

1984: Disbandment

Parliamentary inquiries and a legal attempt initiated by Conservative MP Timothy Eggar under the UK's Obscene Publications Act concerning their track "How Does It Feel..." prompted members of Crass to reflect on their mission:

The financial strain from the Penis Envy legal battle, combined with fatigue and the challenges of communal existence, significantly impacted the band. On 7 July 1984, following a benefit concert for striking miners in Aberdare, guitarist N. A. Palmer declared his decision to depart, confirming Crass's intention to disband within that year.

Crass’s final release was the 1986 12" single "Ten Notes on a Summer's Day." Crass Records ceased operations in 1992; its concluding release was Christ's Reality Asylum, a cassette featuring Penny Rimbaud reciting his 1977 essay.

To commemorate the 40th anniversary, on 11 July 2024, the complete concert from 7 July 1984 was issued as a complimentary download, presented as an enhanced tape transfer.

Crass Collective, Crass Agenda, and Last Amendment

In November 2002, former Crass members assembled under the name Crass Collective to stage Your Country Needs You, an anti-war concert held at London's Queen Elizabeth Hall. The program included Benjamin Britten's War Requiem alongside performances by Goldblade, Fun-Da-Mental, Ian MacKaye, and Pete Wright’s Judas 2. By October 2003, the ensemble had adopted the name Crass Agenda, with Rimbaud, Libertine, and Vaucher collaborating with Matt Black of Coldcut and jazz musicians such as Julian Siegel and Kate Shortt. In 2004, this group spearheaded efforts to preserve the Vortex in Stoke Newington—a venue where they frequently performed. By June 2005, the Crass Agenda title was retired in favor of the "more relevant" Last Amendment. After a five-year hiatus, Last Amendment resumed performances at the Vortex in June 2012. Additionally, Rimbaud recorded with both Japanther and the Charlatans. A remix of the 1982 track "Major General Despair," retitled "The Unelected President," remains accessible.

2007: Ignorant's The Feeding of the 5000

On 24 and 25 November 2007, Steve Ignorant presented a live rendition of Crass' The Feeding of the 5000 at the Shepherd's Bush Empire, accompanied by a band comprising carefully chosen guests. Other original members of Crass did not participate. Initially, Rimbaud withheld permission for Ignorant to perform Crass songs he had authored but subsequently granted it, though he described it as a "betrayal of the Crass ethos." Ignorant defended his actions by stating: "I don't have to justify what I do... Plus, most of the lyrics are still relevant today. And remember that three-letter word, 'fun'?"

2010: Crassical Collection reissues

In 2010, Crass revealed plans for The Crassical Collection, a series of remastered editions of their previous albums. This initiative faced opposition from three ex-members who threatened to pursue legal measures. Nonetheless, the remastered albums began to be issued starting with The Feeding of the 5000 in August 2010. Later releases included Stations of the Crass in October 2010, followed by refreshed versions of Penis Envy, Christ – The Album, Yes Sir, I Will, and Ten Notes on a Summer's Day throughout 2011 and 2012. Reviewers commended the improved audio fidelity and modernized packaging.

2011: The Last Supper

In 2011, Steve Ignorant embarked on an international tour named "The Last Supper," during which he performed songs from the Crass catalogue, culminating in a final concert at Shepherd's Bush Empire on 19 November. Ignorant stated this would mark his final performance of Crass material, an event supported by Penny Rimbaud who joined him onstage for a drum-and-vocal version of "Do They Owe Us A Living," symbolically bringing the band’s 34-year history to a close. The touring ensemble featured Gizz Butt, Carol Hodge, Pete Wilson, and Spike T. Smith, with Eve Libertine appearing for select numbers. Additionally, the setlist included a rendition of The Ruts' "West One (Shine on Me)," performed alongside members of the Norfolk lifeboat crew with whom Ignorant volunteers.

Artwork and exhibitions

In February 2011, artist Toby Mott exhibited a portion of his collection of Crass-related items at New York's Roth Gallery, which included artwork, records released by Crass Records, and a complete archive of the band's self-published magazine, Inter-National Anthem.

The artworks of Gee Vaucher and Penny Rimbaud were displayed in the 2016 'Peculiar People' exhibition at Southend-on-Sea’s Focal Point Gallery, an event honoring Radical Essex's heritage. Vaucher’s painting titled Oh America, portraying the Statue of Liberty covering her face, gained prominence when it appeared on the front page of the UK Daily Mirror following Donald Trump’s victory in the 2016 US presidential election. From November 2016 through February 2017, Firstsite gallery in Colchester presented a retrospective showcasing Vaucher’s artistic contributions.

June 2016 saw "The Art of Crass" exhibition at Leicester’s LightBox Gallery, curated by Sean Clark, featuring prints and original pieces by Gee Vaucher, Penny Rimbaud, Eve Libertine, and Dave King. The exhibition included live performances of "The Cobblestones of Love," a reinterpretation of the Crass album Yes Sir, I Will, performed by Rimbaud, Libertine, and Louise Elliot. On the closing day, Steve Ignorant’s Slice of Life delivered a live set. Documentation of this exhibition is available on The Art of Crass website.

Influences

The formation of Crass was deeply influenced by Penny Rimbaud's reaction to the death of his friend Phil 'Wally Hope' Russell, who passed away soon after being institutionalized following his involvement in the inaugural Stonehenge free festival in 1974. Rimbaud was convinced that Russell's demise was a politically motivated act by the State. Co-founder Steve Ignorant acknowledged that bands like The Clash and artists such as David Bowie played a significant role in shaping their sound. Additionally, Crass incorporated ideas from existential philosophy, Zen Buddhism, situationist theory, the poetry of Baudelaire, British working-class kitchen sink realism literature, films like Kes, and avant-garde creators including Anthony McCall.

Musically, Crass leaned towards classical inspirations—especially Benjamin Britten, whose compositions influenced some of their guitar riffs—alongside elements of free jazz, European atonal music, and experimental composers like John Cage and Karlheinz Stockhausen.

Legacy

Crass left a profound mark on anarchist communities across the UK, the United States, and beyond, fostering greater awareness of anarcho-punk and anarchist philosophies. The band asserted that they reinvigorated both the peace movement and the UK Campaign for Nuclear Disarmament during the late 1970s and early 1980s; however, some scholars contend their influence was mainly confined to energizing radical youth within militant anti-war circles.

Their philosophical outlook and artistic style resonated broadly throughout punk culture during the 1980s. For example, Ian MacKaye of Dischord Records adopted Crass's anti-commercial stance and DIY ethics in his label operations and projects such as Fugazi. Nonetheless, few artists replicated the band's later experimental approach showcased on albums like Yes Sir, I Will and Ten Notes on a Summer's Day. Gee Vaucher’s iconic black-and-white collage artwork inspired figures such as Banksy and contributed to the subvertising movement. Anti-folk musician Jeffrey Lewis paid tribute by covering Crass tracks on his 2007 release 12 Crass Songs. Early admirer Brett Anderson also credited Crass with shaping his performance aspirations.

In a 2016 discussion with The Guardian, Crass was recognized among British anarcho-punk groups that influenced American avant-garde metal band Neurosis.

Members

• Steve Ignorant (vocals)
• Eve Libertine (vocals)
• Joy De Vivre (vocals)
• N. A. Palmer (guitar)
• Phil Free (guitar)
• Pete Wright (bass, vocals)
• Penny Rimbaud (drums, vocals)
• Gee Vaucher (artwork, piano, radio)
• Mick Duffield (films)
• John Loder (sound engineer), founder of Southern Studios and often regarded as Crass's "ninth member" (deceased 2005)
• Steve Herman (guitar; departed shortly after debut performance; deceased 1989)

Discography

(All titles released through Crass Records unless otherwise noted.)

LPs

• The Feeding of the 5000 (1978; originally issued at 45 rpm on Small Wonder Records – reached UK Indie No. 1; re-released in 1980 as a 33 rpm version titled Second Sitting, UK Indie No. 11)
• Stations of the Crass (1979; double LP) – UK Indie No. 1
• Penis Envy (1981) – UK Indie No. 1
• Christ – The Album (1982; double LP) – UK Indie No. 1
• Yes Sir, I Will (1983) – UK Indie No. 1
• Ten Notes on a Summer's Day (1986) – UK Indie No. 6

Collections and Remastered Releases

• Best Before 1984 (1986; compilation of singles) (UK Indie Chart peak: No. 7)
• The Feeding of the 5000 (The Crassical Collection) (2010 remastered edition)
• Stations of the Crass (The Crassical Collection) (2010 remaster)
• Penis Envy (The Crassical Collection) (2010 remastered version)
• Christ – The Album (The Crassical Collection) (2011 remaster)
• Yes Sir, I Will (The Crassical Collection) (2011 remastered release)
• Ten Notes on a Summer's Day (The Crassical Collection) (2012 remaster)

Singles

• "Reality Asylum" / "Shaved Women" (1979) (UK Indie Chart position: No. 9)
• "Bloody Revolutions" / "Persons Unknown" (split release with Poison Girls, 1980) (UK Indie No. 1)
• "Rival Tribal Rebel Revel" (1980, one-sided flexi disc)
• "Nagasaki Nightmare" / "Big A Little A" (1981) (UK Indie Chart No. 1)
• "Our Wedding" (one-sided flexi-disc produced by Creative Recording And Sound Services for the youth magazine Loving)
• "Merry Crassmas" (1981, Christmas-themed novelty track) (UK Indie No. 2)
• "Sheep Farming in the Falklands" / "Gotcha" (1982, originally issued as an anonymous flexi-disc) (UK Indie No. 1; UK Singles Chart peak: No.106)
• "How Does It Feel To Be The Mother of 1000 Dead?" / "The Immortal Death" (1983) (UK Indie No. 1)
• "Whodunnit?" ("shit-coloured vinyl", 1983) (UK Indie No. 2; UK Singles Chart peak: No.119)
• "You're Already Dead" / "Nagasaki is Yesterday's Dog-End" / "Don't Get Caught" (1984) UK Singles Chart peak: No.166

Additional Releases

• Penny Rimbaud Reads From 'Christ's Reality Asylum' (catalogue number 10C, C90 cassette, 1992)
• Acts of Love – Fifty Songs to my Other Self, by Penny Rimbaud alongside Paul Ellis, Eve Libertine, and Steve Ignorant (catalogue number 1984/4, LP and book, 1984; reissued as CD and book under Exitstencilisms Cat No. EXT001 in 2012)
• EXIT The Mystic Trumpeter – Live at the Roundhouse 1972, The ICES Tapes (pre-Crass recordings featuring Penny Rimbaud, Gee Vaucher, John Loder, among others) (Exit Stencil Music Cat No. EXMO2, CD and book, 2013)

Live Albums

• Christ: The Bootleg (recorded live in Nottingham during 1984; issued in 1989 by Allied Records)
• You'll Ruin It For Everyone (live performance in Perth, Scotland, 1981; released in 1993 on Pomona Records)

Video Releases

Crass

• Christ: The Movie (a series of short films by Mick Duffield screened at Crass concerts; VHS format, 1990)
• Semi-Detached (video collages created by Gee Vaucher spanning 1978–84; released on VHS in 2001)
• Crass: There Is No Authority But Yourself (documentary directed by Alexander Oey, 2006), chronicling the history of Crass and Dial House
• Crass: The Sound of Free Speech - The Story of Reality Asylum (documentary produced by Brandon Spivey)

Crass Agenda

• In the Beginning Was the WORD – Live DVD captured at Progress Bar, Tufnell Park, London on 18 November 2004

See also

• Anarchism and the arts
• Punk ideologies
• Animal rights and punk subculture

Suggested Viewing

• The Art of Punk – Crass (Museum of Contemporary Art) (2013) – Documentary highlighting the artwork of Dave King and Gee Vaucher

Bibliography

• (originally included with LP Christ – The Album, extensive text now available online at Southern Records)
• International Anthem: A Nihilist Newspaper for the Living. Exitstencil Press. 1977–81.

External links