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Anarcho-Punk Was Always Destined to (Generally) Fail: A Review of Beyond the Monochrome, a book by Chris Low

My introduction to anarcho-punk arrived courtesy of two Crass singles being kindly given to me by somebody at school in the year below me when I was around 14 or 15-years-old due to my being the only person he knew who still liked punk. These 7”s were ‘Reality Asylum’ and the split single with Poison Girls, ‘Bloody Revolutions’/‘Persons Unknown’. Excited, I took them home and could not stop playing both over and over again on my cheap hi-fi whilst completely transfixed by the artwork, the slogans and what ultimately proved to be my introduction to the world of anarcho-punk (even if I was oblivious to this at the time). While I was not quite ready for the sprawling tape collage-backed spoken word of ‘Reality Asylum’, I vividly recall playing its more immediate flipside track, ‘Shaved Women’, countless times before moving on to ‘Bloody Revolutions’ and its acerbic critique of violence used as a tool for revolution or protest. 

Not long after obtaining these two singles, I started to explore Crass’ world a little more and began to expand my collection of singles with releases by Zounds, Flux of Pink Indians, The Snipers, Annie Anxiety, The Mob and Rudimentary Peni over the course of the next couple of years. Like many of the other punk/post-punk records I already owned, I got more from these singles than just the music. Drawn to their fold-out sleeves, the thought-provoking montages and stencilled typography, the experimentation underpinning the often otherwise ferocious music and the mostly black-clad image of the groups, there was this overriding feeling that they each represented something completely against the grey and oppressive future it seemed like we were all facing. Of course, the text and sloganeering against war, the government and the rich, as well as that concerning animal rights, individualism, autonomy and existentialism, amongst others, was also perfect for my tender age to begin prodding at topics I’d barely considered before. As I waded through this heady mix I couldn’t deny its appeal even if I didn’t wholly subscribe to everything proffered. Rather, it was mostly the music that grabbed me, followed by the packaging and the stew of ideas bubbling within.

One of my main misgivings about everything presented was the idea that all the hyperbole over ‘anarchy’ ultimately pointed to a conviction that humanity could somehow overcome all of its failings and live in a utopian state. Between reading Lord of the Flies at school and my own early childhood being discoloured by (sometimes physically) fighting parents as they crashed towards divorce, plus just witnessing how those around me behaved towards each other, the little faith I might have had in our species began to dissipate as I crawled through my teens. The idea that ‘freedom’ implied having no government, military or police, etc. just seemed faintly ludicrous. Such lofty idealism was not only the domain of fantasy, but also reminded me of the naive and patchouli-scented hopes and dreams of the hippies. 

All the same, there was more to anarcho-punk than myopic utopianism, which brings us neatly on to Chris Low’s Beyond the Monochrome book, itself collecting photographs and graphics from this vibrant area of the 1980s underground all taken or gathered by Chris himself. Having once been the drummer in wild anarcho-experimentalists The Apostles, as well as later performing the same duties in both Political Asylum and Oi Polloi, who themselves had strong ties to anarcho-punk, places Chris as something of an authority on the subject. However, more than this, he was actively involved with the early ‘80s squatting scene in London, produced ‘zines, participated in Class War protests and others, maintained a viable presence through his writing and photography, and ultimately must be amongst a tiny minority who documented so much of it so well. 

The foreword and introduction to the book by Napalm Death founding member Nick Bullen and Chris himself highlight the appeal of anarcho-punk while simultaneously illustrating exactly why it happened when it did. The UK of the late ’70s and early ’80s looked bleak due to the threat of nuclear war, mass unemployment, strikes, the closing down of industry, political unrest, race riots and a future being shaped by globalisation and a pop culture that began embracing an escapism far beyond the reach of the average person. Given this context, it is easy to see how a thriving segment of the underground, driven by punk’s anger, frustration and energy, reacted so vehemently. It was a time of unrest and uncertainty, so the melding of anger to an array of causes and beliefs one could get behind if desired inadvertently offered a sense of unity and hope. At the very least, the thought that change was possible didn’t appear so unrealistic for many in this somewhat desolate environment.

The 68 photos reproduced here, ranging from groups such as Conflict, Crass, Omega Tribe, DIRT, The Alternative to those Chris was also involved with, as well as snaps of the Punx Picnic in Edinburgh, protesters and the obligatory shots of punks making a stand against cops, certainly provide vivid insight into a period that went on to influence many in the form of poltical awareness, activism, a DIY approach to organising concerts, publishing and all creative pursuits, or even lifestyle choices. Along with each of these photos there’s text and plenty of (sometimes humourous) anecdotes by Chris and others, such as members of Oi Polloi, Riot/Clone and Omega Tribe, which not only provide a backstory to them where possible, but also form a narrative further compounding what anarcho-punk meant to those involved. For some, it galvanised a lifelong commitment to a facet of it that continues to this very day, such as embarking on a vegan or vegetarian diet, while others fell by the wayside due to addiction problems or simply not taking care of themselves (the recounting of squatters succumbing to Trench Foot and scurvy, besides other diseases no doubt, only compounding my belief such people hardly represented a fantastic alternative future when they couldn’t even take care of personal hygiene).

Due to my own background, a lot of this material was already familiar to me, of course, but what shines alongside Chris’ own knowledge and passion for an area of underground culture that clearly informed him is the idea that such a document was needed. And as much as the photos, in all their grainy glory, capture the spirit of it all, there’s probably room for a far more expansive book on the subject.

While I still wholeheartedly stand by my old position on most of this amounting to little more than the domain of blindsided idealism, I would also surmise there was something of value at the heart of anarcho-punk. Chris himself acknowledges the former with the occasional wry comment on how things seemed when he was so much younger. However, he and his colleagues succeed in painting a picture that’s easy to understand as having been exciting, attractive and an aid to one navigating their way through their youth and into adulthood. Anarcho-punk, replete with the iconography, sloganeering, cool jet black image and, indeed, sometimes incredible music that still holds up today, formed an important part of the landscape to those of us seeking music and ideas outside the mainstream at the time.

To that end, this book comes recommended to all who grew up with this or who, like myself, either dabbled with it or remain interested in everything that happened culturally from the late ‘70s to early/mid-’80s. It’s an excellent document that I’d like to think Chris made a neat little profit from for all his hard work. Even anarcho-punks need money.

NB: The first edition of this book has sold out but a second is underway and should be available to pre-order soon.

(Richard Johnson)