Posts Tagged ‘Atterkop


atterkop – album and release show reviews

… the new Atterkop platter is out and about and getting some rave reviews which we’ve published below … the band had a record release show a few days back, and a review of the show follows below as well… accompanying pics are from the release show and were taken by Patrick Page Fallon

From what I hear, Atterkop has been banging around picking up steam in the underground punk scene of Bristol. Their initial full length offering ‘Liber Abaci’ is what I would hope for from the band I think they are. Even down to the album title, Atterkop pushes the ‘think for yourself’ attitude.

“Liber Abaci” was the title of a 13th century book on arithmetic focusing on making atterkopreleasethreecalculations without the use of an abacus or other systemic tools. ‘Liber Abaci’ plays like a good set list. Every boy, Every girl kicks in after the short intro like a call to arms in all its breakneck speed circle-pit glory before loosening up on you, ever so slightly, with some choppy ska reminiscent of early Suicide Machines or Choking Victim records. Then you’re off on through a series of aggressive songs peppered with strong messages about globalization, suburban life, gender politics and other things I look for a politically leaning band to address.

Safer Spaces is the song that truly makes this listener draw comparisons to Choking Victim and their gravel voiced anarchistic ska/punk hybrid music. Breaking The Sequence follows by breaking the sequence and letting more of their 2nd wave ska sound come through and it is more noticeably present in the songs that finish up the album.

Atterkop released a rad animated video for ‘Picket Fence’ in August which could make it the 1st single if people still use such terms and practices in the largely digital world. This is a wise choice in my opinion because it does a thorough job giving an overall representation of  Atterkop in one song. It’s hardcore. It’s punk rock. It’s ska. It has humor to show they may be serious but Atterkop doesn’t seem to be assholes about it. I call this a solid initial release by an eclectic band and look forward to what they do next. (Rock n Reel Reviews)

Named after, whether intentionally or not, a book that helped convince the world to adopt a more efficient numerical system, the politically-pumped Liber Abaci from Bristol four-piece Atterkop aims for a similar impact, delivered via heavy instrumentation, conviction in their powerful group chants, and socially critical displeasure.

Introduction serves as an atmospheric opening to the album. The dark dub-rock influences, the playful bassline and spooky, winding guitar lines create a smoother, more atterkopreleasetwolistenable Mars Volta feel. This aura is quickly dispelled with Every Boy, Every Girl as we reach the hardcore territory which Atterkop has mapped out well. The rapid shred of distortion from the chord progression is held aloft by its parade of blastbeats and the shouty unison of its backing vocals. A token, but highly effective, clean ska interruption, complete with some swing in the guitar’s skank and a memorable walking bassline skipping energetically just ahead of the beat, balances out the heaviness of the verse whilst displaying the range of the band’s musical delivery.

Trees Will Fall features further good use of group chanting, an indicator of the band’s energy whilst reflecting its sentiment of inclusivity. This is a powerful tune, highly developed through some nice touches, such as when guitar drops out in the second verse and the bass is allocated to the foreground in a tasty stylistically punk breakdown. The way the verses almost begin in half-time, before swapping into a faster incarnation then looping back into the heavier accenting, helps keep the energy up. A menacing dub-interlude slowly picks off then reintroduces the instruments, darkly and dreamlike, before returning us to the song’s intensifying layers of shouting, distortion, and comprehensively precise drumming.

Listeners preferring their music less full on might find refuge in Safer Spaces’ gentler atterkopreleasesevenreggae plodding. But only for its intro. The genre influences are well balanced, and the message of the lyrics make an empowering statement “it’s not about political correctness but sensitivity”, where the idea of actually practicing friendly actions is favoured as opposed to bogging down the application of moral behaviour with technicalities. Break the Sequence is a short but sour criticism of citizenship’s second-place relationship to its government, featuring some smoothly picked guitar, straying from its straightforwardly aggressive distorted chords, saving them for the chorus. The dissonant note bend at the song’s end adds some theatrical element.

The restless introducing bassline of General Practitioner leads us into an impressive display of ska-punk that fluctuates in intensity throughout. Probably one of the album’s stronger tracks, the bass work on this track is infectious and really completes the song here, while the wayward addition of incrementally heavy musical ideas from the other instrumentation keeps things busy and maintains our interest.

Picket Fence’s punk steadiness meets some delicious horn additions. These blurt out a staccato European-sounding melody under the guitar’s skank chords and an expertly atterkopreleaseeightsyncopated bassline. On the intensely loud chorus, the horns screech under the distortion. Apparently written in response to some racist graffiti that shamefully surfaced near one of the band member’s houses, it is a call to arms against, or a call to ignore, fascist behaviour. As short-lived as the writing that inspired it, the band’s concise but developed approach here signals a need to move on from such intolerance.

Red Lines’ rapid up-tempo ska-shuffle creates a nice bookend for the screaming outbursts and tenacious drumming. A breakdown later in the song slyly re-appropriates a classical motif into a powerfully uplifting bit of major-key heaviness, merging perfectly with the emotive vocals that end the song for another of Liber Abaci’s searing highlights.

If We Stop We Die is neither the tagline from Speed, nor a shark’s mantra, but a dub-heavy masterpiece that transforms into straightforward punk by the end of the tune. Complete with dormant heaviness from the occasionally surfacing flurries of guitar and angry political message, it’s a strong place to end the album at. Due to the autoplay, I accidentally found that the album loops back quite well on itself to restart with Introduction. Still sounding fresh whilst drawing influence from several genres that can sometimes become over-saturated, it’s a testament to the consideration that you can hear has gone into arranging these tracks.

Released on the fourth anniversary of their founding, Atterkop have produced this consistent, eleven strong, full-length debut of quality ska-punk, at times littered with a darker, heavier, more thrash-orientated edge than what is normally expected. It pays off massively, with the dubbier sections showcasing the band’s musical sensitivity and the punkier sections detailing the group’s more personal side. Whilst still a fair way off from smashing the system, it’ll at least be likely to be monopolising people’s speakers long after its release. (Punk Archive)

An album as hard-hitting in its beliefs as much as it is in its vibrant and genre-crossing Punk-Rock sound, Liber Abaci is chaotic, intense and quite beautiful in its focussed, tenacious and unrelenting rage.

atterkopreleasenineNow if that doesn’t make you want to read on I don’t know what will. Perhaps some name drops for those aficionados? The band cite ‘…the cream of Ska-Punk bands from early 2000’s (King Prawn, Capdown, Five Knuckle) fusing this sound with a more politically aggressive sentiment.’

You listen to the album and quickly hear the company this Ska-Punk is keeping. Skate Punk, old-school Hardcore and its more modern variant, as well as the dark and cutting melodies and abrasiveness of contemporary Crust Punk are all well and truly entrenched, as is a very welcome and well deployed Post-Hardcore appeal lathered over the top of the wound this band are creating in the sound barrier.
If you haven’t already guessed, the album is an absolute thrill-ride.

‘Introduction’ is the calm before the storm and the opening notes of ‘Every Boy, Every Girl’ inform you of the melodic destruction that is about befall you. The Hardcore Punk/Dub crossover of ‘Trees Will Fall’ in its warning against humankind’s reckless natural exploitation is somewhat disjointed but seems to rescue itself from the sharp change in direction.
‘Safer Spaces’ for the most part is a pure Dub/Hardcore Punk crossover but for the driven melodic guitar leads that give a hint of Crust Punk to the mix. By this point you find yourself less bothered by the sharp direction changes, instead embracing the formation of band’s signature Punk-Rock.

The passion put into this release pulsates from the slower, riff-laden tracks as much as it does the breakneck pace or the deceptively gentle Ska and Dub infusions. ‘Break The Sequence’ gives us a taster of this before the tempo is amped up again for the atterkopreleasefoursupercharged “crack rock steady” of ‘General Practitioner’.
The melodic guitars are a highlight of the Atterkop sound, despite their forte lying in fast, abrasive and discordant tenacity. The likes of From Ashes Rise come to mind, as well as a slight penchant for a more stripped melodic sound in the likes of ‘Hope Will Float’.

‘Forgotten, Found’ sounds akin to old-school Fugazi if it had happened now and focussed more on the Dub influence. The whole album is conditioned with this more technical, precisely chaotic Post-Hardcore agenda but in ‘Forgotten, Found’, it really shines.

Picket Fence is by far the best track on the album. Its blunt and to the point, showing Atterkop for who they are and musically, the more melodic Crust Punk sound wouldn’t be without its almost mischievous brass and Ska-string flutter.
Atterkop’s skill is something that can’t fault. Punk may a lot of the time be simple music and technique brashly sped-up but the skill to do so that fast should never be underpinned. Atterkop show themselves off throughout with the simple, the fast and the complex standing equally tall in their layered sound.

The albums final two punches one and the same with the previous nine and are well worth your time, off you go. (Musically Fresh)

…and, here’s a review of the album release show … from Punk Archive …

Braving the recent chilling air and a river-induced tummy-ache, last Saturday at the Stag and Hounds was the ideal (and only) place to catch Atterkop’s album launch gig. The atterkopreleaseshoweleven-track Liber Abaci is a strong record and to hear it live on the day of release seemed like it would be well worth doing.

Little Fists started the night: their first Bristol show, with a set of moody, stripped-down, grungy Fugazi-inspired punk rock. The vocal duties were shared across the London sadcore three-piece, often sang out bluntly with edgy dispassion, an almost Gang Of Four style delivery, sounding suitably authentic. It was bleak and raw music, steadily delivered, and highlights included the band’s laid back instrument swapping, during which the band’s tune Swift End stood out particularly. Ending the set via an intense and well-received cover of Hole’s Pretty On the Inside, it was soon time for Spanner to take over.

By the time Spanner were setting up the crowd had almost tripled in size, and the band shortly proved their command of it. Jumpy, angry, snare-heavy tunes with a heavy ska influence, excellent teamwork on the vocals, and some subtle trumpet and violin additions make Spanner fully tooled up to deliver a decent set. The trumpet player’s aggressive vocal shouts stood out loudest, seemingly leading the way through rounds of tasty walking atterkopreleasesixspannerbasslines and solid skank rhythm from the guitar, but the entire group sang with conviction, each adding in and butting out vocally whenever possible, this hectic feel and sense of cohesion is always one of the main strengths I find in punk bands. The upbeat tone of their music does well to counterbalance and advocate the lyrics’ cynicism (try Border Regime). The reliable enthusiasm that goes with ska-punk matched a loose approach to genre that arose in the form of sudden twists in the song during Number One’s folk-punk jiggery and heavy dub verse in, or in the jungle/D’n’B style rhythm-section interlude on the brilliant Mug’s Game, all of which were highly effective. The energetic playing was danceable, probably more danceable, but not as heavy or intense as what Atterkop were about to bring us a few minutes later.

Atterkop played almost the entirety of the freshly released Liber Abaci. Opening with the atterkopreleasefourwinding melodic descent of Introduction, the crowd was in and up for a treat. Smashing through the album’s opening tracks, the taut playing showed they knew their material and audience well. The energy of their frontman was unprecedented: just watching his impassioned jerking movements helped relieve my whining about the minor illness that was only just quelling my increasing instinct to skank-out at the front, as much of the crowd had found themselves doing. The music covered a range of influences whilst the lyrics covered a range of societally-pressing topics. The reggae-stomp to the bass and shouts for inclusivity on Safer Spaces, that hardcore-punk drumming and in-your-face backing vocals on Hope Will Float, all working perfectly live. The breakneck verse of Red Lines makes it one of the most fun tunes. Towards the track’s end, midway through plucking out a stately


Atterkop and Spanner: rebel tunes for rebel times

traditional interlude, the guitarist’s nonchalant observation: “Ooh, someone’s dropped their keys”, right before the entire band re-joins to launch us through the heavy stabs comprising the song’s last verses, was hilarious, but also musically brilliant. Ending the set with time to spare, after asking the crowd if “we can fuck off now?”, the declined band overcame any tiredness by finishing off with a couple of their earlier releases, C.D.G followed by Mary the Elephant, for a crowd-pleasing end to proceedings. Powerful, abrasive, pleasantly modest, Atterkop were a joy to watch. Good luck to them with the release of this stunning album, and thanks also to Spanner especially for an excellent night.


interview with atterkop


Without further ado, and just in time for their record release show, here’s an interview with Atterkop! Very happy to be one of the labels assisting in the release of their first full length! On this side of the pond you can get a copy of of the album from Rebel Time Records …

Reviews have started rolling in, with The Punk Archive saying, in part, that the album is a  “consistent, eleven strong, full-length debut of quality ska-punk, at times littered with a darker, heavier, more thrash-orientated edge than what is normally expected. It pays off massively, with the dubbier sections showcasing the band’s musical sensitivity and the punkier sections detailing the group’s more personal side. Whilst still a fair way off from smashing the system, it’ll at least be likely to be monopolising people’s speakers long after its release.”

Music for social change, not profit!

What (or who) the heck is an ‘Atterkop’?? Other than the fact that you are from Bristol, England and have regular hang-outs with our pals in Spanner, we really don’t know a whole lot about you lot. How about an introduction?

Okay, so ‘Atterkop’ consists of Chris (vocals), Ian (Guitar), Luke (Drums) and Alex (Bass). We first started playing together in the late winter of 2012. Three of us were in a very short lived, but thoroughly enjoyable punk band called Private Gain, which disbanded due to our beloved bass player Geoff having to move back to New Zealand, so myself (chris), Luke and atterkopgrouppicAlex wanted to continue playing together but fancied something different and aimed to start a political dub/reggae band… it was something none of us had ever really done before and figured it would be worth a punt! So I called my friend Ian who played in an instrumental reggae band ‘One Shot’, and asked him if he wanted to come to a practice and well, within one practice it was established that we weren’t going to be leaving punk behind any time soon! We kept the band under wraps for 6-7months until we had a full 30 minutes worth of music. Then come the end of spring 2013, I spoke to a few friends of ours who booked gigs around the country and made it known that we had a new band. Then before we knew it we had a 4 consecutive gigs booked.. but NO name… enter ‘Atterkop’. It was a band name that I had at the back of my mind for a few years and thought that perhaps this was the perfect time to  finally get it used. The word, (actually spelt Attercop) is typically Old English and translates to “poison head”, and was often used to refer to ill natured persons or feared beings. Also, for anyone familiar with the hobbit, Attercop is the name that a certain Bilbo Baggins gave to the spiders…

The name was put forward and well nothing else was really brought to the table, so we changed the “c” to a “k” so we could gain ‘punk points’ and that was the name. It stuck and we continue to ride it out, even though no one really seems to know what it means 🙂
Atterkop has been describe as “a hefty dose of political dub soaked punk coupled with riff heavy beat downs and frantic ska.” and  “aggressive, politically-charged and laced with intricate ska sections.” Accurate?
2) I guess that’s a fair description of the bands ‘sound’ certainly in the beginning weatterkopshirtdesign focused more on fusing ska and hardcore together. Where as over time, we have begun to explore many more genres and musical ideas. I guess the Atterkop mantra is to write music that’s fun to play and challenging to play. All of our songs, lyrically are lined with a strong anarchist sentiment – There is never any lack of inspiration. For example the soon to be released LP tackles issues surrounding mental health awareness, expectations of gender roles, European refugee crisis, deforestation and direct antifascist action, if you want to go into those a little more we can, all you got to do it ask ;), but ultimately  we will use the 30 minute set  we have armed with microphones and amplifiers to bring up issues and topics that we feel are important to consider and for other individuals to think about and discuss.
You’ve got a new album out and it’s called “Liber Abaci.” Honestly, I keep calling it “Liberace, but I’m pretty sure the album isn’t a tribute to ‘Mr. Showmanship.’ What’s behind the title? What’s behind the album?
Okay, so I am going to try and sum the idea behind the title has quickly and as promptly as possible…
“Liber Abaci” pronounced “LEE-BER AH-BA-KEYE” is an ancient book of numerals written by Fibonacci and directly translated reads as “The book of calculation” or “Book of atterkopalbumcdpicthe abacus” it was the first book to truly explain the hindu-arabic number system and addressed the applications to both commercial trades men/women and mathematicians. It could be argued that this book acted as the keystone for how global economies and businesses operate – by providing the mathematical basis for trade between East and West.
Its also worth mentioning that the album artwork (drawn by our good friend Ian Gibson) is also a nod to the Fibonacci Sequence as it depicts the Nautilus, a prime example of a mathematical equation operating in universal law. This  highlights how advances in knowledge can open our understanding of the world around us but can also be used to control it
So, I guess the theme for the whole record was nature and numbers. Looking at how humans interact with one another, interact with other species and how we treat our surroundings. As well as trying to execute various time signatures…
This entire album was recorded by Ian (guitar), its a great feeling knowing that the whole record was written and recorded by ourselves, we had the privilege of working with a atterkoplivehandful of cracking musicians who feature on the album, Duncan from Bristol reggae band One Shot played the keys, Alex Gordon and Matt Dowse of Citizen Fish featured on the trumpet and trombone and our good friend Matt Martin (Made Of Ale Studios/Pumpkin Record) was drafted in for mastering duties and as a result the record sounds perfect (to us anyway). It is also safe to assume that the record labels and distros that helped us release this record also thought that it was worth a punt, we are really chuffed to release the record on such a wide variety of labels, i will give you a little run down as to who is involved…
 Riotska Records – This is the record label that i co-run with my wife Claire.
Pumpkin Records – Long time friends of ours, based in Bristol/Manchester UK
Prejudice Me Records – Two of the best people in DIY Punk, 100% of their money made goes to grass roots radical causes.
Ronce Records – busy French Punk label.
Forwst Records – Brand new German label/distro based in Hamburg
Rebel Time Records – Obviously you are great, and we love everything you put out and stand for.
Kibou Records – UK hardcore label ran by our friend James who plays in The Domestics
Uncomfortable Beach Party – UK punk label/promoter ran by our friends in the punk band Casual Nausea.
Abracadaboum – cracking distro based in France.
Let’s talk about a couple of the songs … “Every Boy, Every Girl” … you mentioned that this song is about : “the rigid definitions of gender and how we have our identities sculpted for us through means of advertising and tradition.” Please, expand!

So the concept for the song “Every Boy, Every Girl” is something that had been floating around in my mind for a while. I have always found it incredibly infuriating how we as individuals are expected to conform to the gender binary. We are somewhat forced to subscribe to the Male or Female category and throughout history the association with


either one of these gender roles brings particular stereotypes. It is these stereotypes that we wanted to attack and deconstruct with this song. Mainstream media plays a huge role in attempting to dictate and force their ideas and perceptions of how each specific gender category should behave, dress, interact and dream. People have the right to be who they want to be and if you feel that the connotations and guidelines of Female or Male labels are weak then that’s okay. It is okay if these labels do not fully describe you. It is okay to break away from that. But in the same breath If you are able to subscribe to the binary then that too is okay, we are just trying to highlight that whether you are happy with it or not, there are rigid stereotypes and expectations of gender roles within society and that is what we have an issue with. As I said previously, you can be whatever you want to be.

“If We Stop, We Die: “a tune which looks at a number of topics, mainly contempt for the state, police force and how we should try and work together and all strive for the greater good. ” Please, elucidate…
The song “If We Stop, We Die” is a ‘hats off’ to every single person who has committed themselves to a form of left wing radical activism. On countless occasions I have been left in awe of simply how much particular individuals and groups are able to achieve when they set their minds to it. The song touches on the freedom of expression and the fact that just because you have the right to freedom of speech, that does not make It okay to subscribe to inherently racist ideals and agendas. Our current and previous governments alongside mainstream media have worked hard in conjuring fear among the masses and directing hatred towards those who fall under their demonized categories of “Immigrant”, “Foreigner” and “Benefit claimant” and as a result, dividing and segregating the country. Consequently a rise in far right fascist ideologies and movements make themselves known. The chorus of the song…
“the backlash is building, it will come soon. Just because you can, doesn’t mean you should! The true foundation of our liberty, is it exercise our right to defy. Eradicate elements of ignorance and free society from violence” 
…serves as a piece of advice to all those that choose to swallow the complete nonsense that is constantly put in front of us. Legislation is put in place to try and keep people from speaking up and acting out against forms of oppression. The illusion that if you “put your mind to it” and “get a proper job” you will be able to smash through the glass ceiling and live a debt free existence, with no worries or woes. Existence is an upward struggle and it’s a much harder struggle when we face it on our own. It’s imperative to maintain healthy relationships with those in your community and if we all come to together and fight in whatever way we can for the greater good then we may be able to secure the comfort and security which we all desire…. And that’s what the whole song is about in essence. It’s the longest tune on the record clocking in at 5minutes and it is one that just about refers to everything. But to conclude, “if we stop, we die” is about not giving in to fascist mentalities and ideologies, refusing to respect those that protect those ideas, and trying to build a better future – together.
You just released a really really cool video for the song Picket Fences … how’d that come about and what’s it all about?
Our tune “Picket Fence” was written back in 2014 when the housing estate that I  live on in Bristol was targeted by the National Front (A far right movement that pedals hate and racism) They had armed them selves with spray paint and painted a vile slogan of racial hatred along the main road, that runs along one of the main bus route. Needless to say the graffiti was removed promptly. You see, Bristol is a wonderfully diverse city and that is what makes it such a special place to live, it is a melting pot of culture and this behaviour will not be tolerated. The chorus “Your days are numbered. We will defeat you. atterkopweareWe are antifascist, through and through” rings true with lots of people that listen to us and watch us at is in solidarity with all those that have been and continue to be directly affected by fascist behaviours and intimidation techniques. Further more it is an ode to every single individual that actively stands against the threat of oppression from the far right. Whether you partake in direct action, designing artwork, singing about antifascism, fly post, give out leaflets, run info stalls, organise benefits and fundraising events or wear the t-shirts – whatever it may be all the little things we do as individuals add up and contribute towards the greater good. So bearing that in mind we wanted to capture that in a 3 minute music video. So we asked Ian ‘Sean’ Gibson – Family member, good friend and exceptionally talented illustrator to help us out (its worth mentioning that he also drew the artwork for the album). We gave him a loose idea of what we wanted. I believe some of the buzz words were – “Bristol, Antifascist action, cartoon violence, community, happy endings”. He nailed the task perfectly and the result was a wonderful video that carries a solid message that is family friendly 😉

The record release show is happening on October 1st in Bristol. Opening bands are Spanner and Little Fists. How’d these two outfits get drafted for this show? And, how’s things in Bristol these days??
That’s right our record release is on the 1st October 2016 in Bristol, UK. The two bands we have asked to join us for the celebrations are Spanner, also from Bristol and secondly Little Fists from London, UK. First of all, Spanner, who I know you lot over at Rebel Time Records are familiar with, are for us one of the most humble and modest punk bands around. They atterkopreleaseshoware a prime example of everything a punk band should be. Their politics come before anything else and their music really is a tool for instigating social change. Not only are their politics on point, but they are also eager, keen and supportive towards us as a band. To play a record release gig in Bristol and not have them play wouldnt have felt right. They are top people and good friends of ours and if you aren’t familiar with them you need to head over to their website and get to know them! As for little fists, we have only ever seen them play once at a house gig in London. Their music was technical, lyrically their politics were on point and they were nice people to boot. They have never played Bristol before and we thought we would invite them to our city. Which, despite being relatively small (population of 450,000) is a great hub of (sub)culture and alternative thinking, and its home to the wonderful Kebele social centre!
Obligatory final question. What’s up next for the band?
Next up for the band, we are currently working on album number 2 and are more than half way through writing it, But other than that, it is to simply carry on as we are, whilstatterkiplivepic trying to play more gigs/tours and festivals over UK/Europe and it would be brilliant to head out your way (Canada/USA) sometime soon, but in amongst all that, its important for us to continue to hold a solid political message within our music, use our music to fundraise for grass roots causes and to write tunes that initiate conversation. So long as all the a above is happening and we are having fun whilst it’s happening – we are happy!
Thanks to Atterkop for the interview!



Atterkop… political punk/hardcore/dub with an anarchist sentiment … yep, the Bristol – Hamilton anarcho-radical-luv connection continues to flourish and blossom … stoked to be one of the labels helping to release the first full-length from Atterkop … a hefty dose of political dub soaked punk coupled with riff heavy beat downs and frantic ska … music for social change not fashion or profit … copies are winging their way to RTR HQ as we speak …


Release date: 1st October 2016

atterkopgrouppicHaving built up a strong following over the years as a solid part of Bristol’s underground punk scene and part of the Riotska Records collective,
Atterkop are pleased to finally unleash their strong debut album ‘Liber Abaci’.

With a mighty sound Atterkop bring a unique edge to the punk rock scene, mixing aggressive hardcore leaning sounds while remaining very much a dub-punk band in places. ‘Liber Abaci’ certainly brings the band forward with its superb and epic- sounding production along with the addition brass on select tracks, thanks to members of King Prawn and Citizen Fish.

Taking in themes from across anarchist political perspectives, Atterkop use their loud, abrasive and unique sounds to carry their messages. The album covers everything from gender politics and anti-fascism to environmentalism and mental health.

‘Liber Abaci’ is out on Saturday 1st October 2016 across a multitude of labels: atterkiplivepic

LP – Riotska Records, Pumpkin Records, Ronce Records (FR), Prejudice Me Records, Abracadaboum (FR), Kibou Records, Uncomfortable Beach Party and Forwst Records (DE)

CD – Riotska Records, Pumpkin Records, Rebel Time Records (CAN) and Ronce Records (FR)

They will celebrate by holding a release gig at The Stag and Hounds in
Bristol on the same night.

Here’s the brand new and most excellent video for the track Picket Fence:

And, here’s what the band had to say about the song:

“‘Picket Fence’ was written back in 2014 when the estate that one of us live on in Bristol was targeted by the National Front/far right. They had armed themselves with spray paint and painted a vile slogan of racial hatred along the main road. Needless to say the graffiti was removed promptly. Bristol is a wonderfully diverse city and that is what makes it such a special place to live, and this behaviour will not be tolerated… and here we are 2 years on and our record is due for release soon and recently the estate has been targeted again. Only this time the houses of European nationals have been vandalised, destroyed and covered in 6 foot high graffiti saying “GO HOME” & “NOT WELCOME”.

This tune is in solidarity with all those that have been and continue to be directly affected by fascist behaviour and intimidation, furthermore it is an ode to every single individual that actively stands against the threat of oppression from the far right. Whether you partake in direct action, designing artwork, sing about it, fly post, give out info leaflets, run info stalls, organise benefits and fundraising events, wear the t-shirts – whatever it may be all the little things we do as individuals add up and contribute towards the greater good. Keep fighting, keep pushing forward and never relent. Their days are numbered.”


Blog Stats

  • 41,689 hits
Follow Rebel Time Records on