Rudimentary Peni - Farce

RUDIMENTARY PENI - FARCE

As well as in such matters as support for the Greenham Common protesters, rejection of the Cruise missile plan, and the forging of links between alternative cultures there was much to be grateful to for Crass, not least their continual mission to bring to the attention of a wide audience a diverse range of unknown bands and artists. One such band being Rudimentary Peni, whose EP entitled Farce was the next release on Crass Records.

Having such a memorable name, Rudimentary Peni easily caught the attention of anyone perusing the gig listings in the music press. Though mentioned very rarely, the name in itself was enough to arouse curiosity. Who exactly were Rudimentary Peni? Where were they from? What did they sound like? What did they want? Thanks to Crass and the release of Farce on their label, answers of a sort were provided though paradoxically it also created an even further air of mystery about the band.

Rudimentary Peni consisted of just three people: Jon Greville on drums, Grant Matthews on bass and writing, and Nick Blinko on guitar, vocals and drawings. The Farce EP itself consisted of eleven intense, short blasts of unique hardcore Punk rock songs that left most listeners if not confused, then wanting to know and hear more.

With the vocals delivered in a near-hysterical scream, the lyrics revealed a fierce if somewhat disturbing intelligence. In the track The Bile Ball, for example, there is no beating about the bush as the point of the song is arrived at immediately and very directly in a Discharge-like haiku: "A stagnant pool of bile contains as much interest as the bible. And is much less harmful. And is much more helpful. And is much more reverend. And is much more irreverent."

In the track Cosmetic Plague, however, the lyrics are much more contemplative though still screamed in a maniacal manner: "Being honest is no means of survival, avoid your inner feelings like the plague. This is what it takes to comply with the images this structure will accommodate. But things aren't what they seem when they're partially hidden behind walls of pretence built for peace of mind. The barriers between us are forever maintained by our acceptance of the roles others choose to define. In a world of competition life's portrayed as a contest where we're forced to live by making gains at other's expense. But no-one's really gaining when perpetual conflict's the result of our relationships based on pretence. We don't need this cultural cosmetic division, it upholds the self-interest on which the system feeds. A deconditioned consciousness of mutual respect is the only way to cure this cosmetic disease."

The Exploited and Fuck A Mod this was not.

In all of the other nine tracks on the record equally interesting and provocative thoughts are delivered, many dwelling upon anti-religious imagery, as in "Sorry, God, there's no coffins just bloody jellies," (from Bloody Jellies), "Death has begun and Jesus loves no-one," (from Zero Again), and "In the eyes of the Lord, we're authority's servants. In the eyes of the Lord, everyone's a servant," (from Sacrifice).

Just to underline the band's atheist stance, the sleeve notes on the record's cover expounded further upon the same theme: 'Is it only a coincidence that Jesus is said to have only chosen male disciples? What place are women given in all this shit? Mary is glorified only in the typical female role of the subservient and dutiful mother - even though she is said to be a virgin as well. Can you really respect this oppressive bollocks? Christianity is shit. It breeds on the irrational and superstitious nature of the human mind yet still, everyday, the State smiles upon the indoctrination of young children with this superstitious crap. Fuck Christianity and all the shit that goes with it.'

Quite apart from the brilliant music and the extraordinary lyrics, the other outstanding aspect of Farce was Nick Blinko's intricate pen and ink drawings festooning the Crass-style wraparound cover. Depicting a variety of macabre, nightmarish figures in absolute fine and intricate detail, the drawings suggested if not a touch of autism then at least a pretty troubled mind.

The year previously, Rudimentary Peni had released their self-titled, début EP on their own Outer Himalayan Records label and on the strength of Farce, people actively sought it out, to be awarded with a further eleven songs of hardcore Punk oddness.

Though less political than Farce, the record still contained the same distinct Rudimentary Peni characteristics such as the breakneck speed of the music, twisted vocals, nightmare drawings and an overall sense of other worldliness quite befitting of the name 'Outer Himalayan'.

On a musical level, Rudimentary Peni would prove to be a major influence upon and inspiration to a whole swathe of bands all around the world though for some reason in particular to hardcore Punk bands from small, obscure towns in deepest, darkest America.