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This schlock came together because of various chance encounters with members of Class War from Ō83 or 4 onwards. I wasnÕt at all keen on the mob who lived up in Stoke Newington and I never joined the Org. However, the individuals who split from CW when it began styling itself a federation were more interesting. I never found myself in agreement with their political views but at least they were into some shit hot music. IÕd go round to their place, a big old house on a short-life lease in Islington, and hear a lot of spaced out sounds. There was a kid from the south coast who was attending Liverpool University and when he came down to London to pick up records, heÕd stay with the crew. The kidÕs name was Rimmer ŌOdges and he introduced everyone to Laibach. However, even after the split some of the individuals thick with the Stokey CW were hard to avoid in Islington. TheyÕd turn up and think it was a great wheeze to spin SkrewdriverÕs fascist records. This was where I first heard crap like Voice Of Britain. Leaving the paranoid lyrics to one side, what I found most shocking about these records was how bad they were, a weedy rhythm section, atrocious production, and saddo Ian StuartÕs voice so far down in his throat that it would be dishonest to call his dirges singing.

As the eighties progressed, I found myself listening to more and more dance music, all the obvious things from Chicago House thru the Fat Boys and Run DMC to Public Enemy, NWA and X Clan. While I didnÕt agree with the politics of the black nationalist groups, I could understand how individuals systematically discriminated against could arrive at those positions. I liked the records too, NWA and X Clan were great musicians. Somehow, I started wondering what would happen if you cut the music of black nationalist bands against nazi groups like Skrewdriver and I made a few experiments with a record deck and dodgy tape machine back in Ō88. The results were rough as fuck. Six years later, I mentioned this to Mark Waugh (whose first novel Come was published in 1997 by Pulp Faction) and he put me together with his Brighton based brother Daniel. Sometime in early 1993, Dan and me tried cutting a few things together, but never completed the project.

1n 1994 I was still banging around with Rimmer ŌOdges, whoÕd split from Blaggers ITA shortly after theyÕd signed to EMI. We talked about putting a techno act together called DSC-GB. A press release was rippled thru my Mac, and a couple of short stories appeared on the news pages of the music press Š Cult Novelist Blags Blagger. We wuz just experimenting with RimmerÕs crap Amiga really, didnÕt have any decent equipment. Anyway, we were well jubilant when Skrewdriver frontman Ian ŌDickheadÕ Stuart snuffed it in a car crash. Stories circulated that some music editor had stopped one of his journos running a story about the happy accident under the headline Skrewed! We felt a single celebrating this death was called for. ŅI swerved to the left.Ó Ha, ha, ha! Using lots of car crash effects, we put together a track called Surf Nazi Goes Nutzoid and another piece to back it entitled Silicon Princess Of Porn. A certain Mr. Bloodrocket helped us with the final stages of the production and these two items were placed on quarter inch tape. A record company offered to release the tracks after we sent them a cassette. As far as we were concerned these were demos and we wanted money to go and record them properly in a big studio with at least 24 tracks. Time dragged on, we refused to send the record company the master. Eventually so much time had passed since Dickhead snuffed it that there didnÕt seem any point releasing a record to celebrate his death. At some point, most of the Welsh nazi band Violent Storm got themselves killed in a motorway accident. I remember seeing the headline Violent Storm Hits Bridge Š ŌgeniusÕ, nothing else was needed.

Time kept passing, funny how itÕs completely irreversible, and in January 1998 I found myself doing yet another reading at The Lift in Brighton (in case you donÕt know IÕm a novelist not a musician). Daniel Waugh was in the audience and he suggested we got the stuff weÕd been working on in 1993 into some kind of finished form. I made another trip to Brighton. IÕd transferred the stuff IÕd done with The Rimmer onto DAT and took that with me. Dan and I mixed it together with what weÕd already done, and what you now have is the result. For something that was ten years in the making, it may or may not have been worth the wait. I think weÕve got a pretty even musical balance, hardly any Nazi bonehead sounds coz that shit ainÕt music. WeÕve got just enough Skrewdriver and No Remorse to give you a bit of contrast and to demonstrate that these racist morons are even dumber than you thought. Once youÕve listened to this, check out my recently released punk CD Stewart Home Comes In Your Face. After a few seconds of Skrewdriver or No Remorse, my punk tunes will be music to your ears!

Stewart Home, London, September 1998.



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