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Cult band Rudimentary Peni announces first new 7″ in over a decade

• May 18, 2020

Oliver Sheppard

Reclusive cult band Rudimentary Peni , notable for having fans across (and exerting a strong influence over) the deathrock and anarcho-punk genres, will release their first new 7″ in many, many years on May 29. The single will contain only one track, “Wilfred Owen the Chances,” which was previously available on only a small-run CD-single that accompanied singer Nick Blinko’s book The Haunted Head, published in limited edition in 2009 by David Tibet’s Coptic Cat imprint. “Wilfred Owen The Chances” is Rudimentary Peni’s most recent recorded material available to the public; a once-promised new EP, “The Great War,” has yet to materialize. The new vinyl 7″ single will feature new artwork from Rudimentary Peni singer and acclaimed outsider artist Nick Blinko .

London punk label La Vida Es Un Mus is releasing the new record in cooperation with Sealed Records . The song “Wilfred Owen The Chances” itself is essentially a sprechstimme -style recitation by Blinko of the World War I poem “The Chances” by British WWI soldier and poet Wilfred Owen. The growling, talk-singing recitation of the poem is set to a slow, minimalist, dirgey punk-guitar-and-drums backing song. In the 2010s British label Southern Records briefly announced a new Rudimentary Peni EP, “The Great War,” but to date that EP hasn’t been released. The “Wilfred Owen The Chances” track here (which can be streamed here below) might have served as a track from that new EP, as this song is indeed about the “Great War” (i.e. WWI). “Wilfred Owen the Chances” can be bought as a standalone mp3 from Sealed Records, too.

The new Rudimentary Peni 7″ features new cover art by singer and outsider artist Nick Blinko

For those wishing to dig deeper into the backstory of this release, you can read the original 1916 Wilfred Owen poem “The Chances” here . (Owen was himself tragically killed near the end of World War I, in 1918.) The poem is essentially the lyrics of Rudimentary Peni’s song. Putting others’ poems to punk music marks a recent change of tack for Rudimentary Peni; the band’s last multi-song release, 2008’s excellent No More Pain EP, starts off with the track “Handful of Dust” whose lyrics are also cribbed from TS Eliot’s “The Waste Land.” Usually, Rudimentary Peni’s trademark sardonic, bleak, and pun-heavy lyrics are penned directly by Nick Blinko and bassist Grant Matthews.

Rudimentary Peni have popped up now and again in goth and postpunk music consciousness over the past decade. The British trio received some attention from the modern goth scene in the 2010s when Chelsea Wolfe released her A Tribute to Rudimentary Peni EP in 2012, which featured Wolfe’s covers or re-workings of several Rudimentary Peni songs. “I recorded five covers, or interpretations, of Rudimentary Peni songs based on only reading the lyrics or only hearing the song once, so the covers are very loose,” Wolfe stated in an interview . “I love Rudimentary Peni‘s lyrics—very frantic and poetic.” In fact, the band have always exerted a fascination, if not viral influence, over the goth, and especially the deathrock, scenes since their doomy Death Church LP debuted in 1983.

The reclusive band—who still have no official web presence, anywhere (the closest is Southern Records’ label page )—started in 1980 just north of London after singer and guitarist Nick Blinko spent time in the early experimental industrial act Magits. He was also in the proto-gothic rock act the S-Haters (who I interviewed in 2012 here ). Around 1980, Blinko formed his own label, Outer Himalayan Records, with Magits bandmate Martin Cooper; under this label’s aegis Blinko intended to release local bands in the punk and early postpunk scenes. In fact, an excellent compilation of early 80s postpunk, dark punk, and gothic rock bands from this milieu can be found on The Thing From the Crypt comp, released in 1981 with major contributions from Blinko’s Outer Himalayan Records. This important document of underground UK postpunk was reissued by Dark Entries Records in 2013 . As well, Dark Entries and Sacred Bones collaborated to reissue other dark bands on Outer Himalayan’s roster with the excellent 2018 Outer Himalayan Presents comp. Southern Records themselves began reissuing Rudimentary Peni vinyl and CDs throughout the 2010s, along with the first-ever officially licensed t-shirts of the band, featuring Nick Blinko’s surreal-macabre artwork.

Rudimentary Peni’s first two, early 80s EPs—a self-titled EP and its follow-up, “Farce”—are dark political thrashers, characterized by a blistering, frenetic energy and by Blinko’s wailing, maniacal vocals. (The Crass-produced “Farce” EP actually hit #7 on the UK Indie charts.) Drummer Jon Greville, who was also in the early gothic rock band Snake Corps (a band that formed from the ashes of Sad Lovers and Giants ), plays tempos on Peni’s first two EPs that perhaps have more in common with US hardcore acts of the time than with contemporaries in the UK underground. In fact, across the pond in the DC hardcore scene of the early 80s a young Guy Picciotto, later of Rites of Spring and Fugazi , was so taken aback by the emotional intensity of the early Rudimentary Peni EPs that he wrote to the band in England and considered them an influence on Rites of Spring’s early material as well as the development of his own career in punk.

Rudimentary Peni made an immediate impression on Crass’s Penny Rimbaud , too; he quickly enlisted the threesome into the Crass Records roster. The band thusly became affiliated with the early 80s UK anarcho-punk scene that centered around Crass , Poison Girls , and the Wapping Autonomy Centre anarchist venue. (For a while, Rudimentary Peni even had a kind of sister band, the perhaps-even-more-morbid, uber-cult, Lovecraftian deathrock act Part 1 ). In 1983, Rudimentary Peni debuted their seminal Death Church LP on Corpus Christi Records, a side-imprint of Crass Records that also included acts like UK Decay and The Very Things . The morbid atmosphere, creepy artwork, and overall nightmarish vibe of Death Church attracted listeners in the American deathrock scene as well as the early goth scene (or so-called positive punk scene) in England. “There’s so much suffering encapsulated into it,” Nick Blinko confessed about Death Church in a rare interview with Carlos A. Nunez for Flipside fanzine in the 1990s. “I tried to be as original [with Death Church ] as I could.”

Amazingly, Death Church briefly reached No. 3 (!) in the UK Indie Charts, according to Barry Lazell’s Indie Hits 1980-1999 . Of the LP’s power, Trouser Press wrote:   “[ Death Church features] venomous lyrics ripping through loud and clear (as they should, given song titles like ‘Vampire State Building’ and ‘Alice Crucifies the Paedophiles’). While the songs are not exactly hook-laden, this is quite melodic for the genre. Tempos run from moderate metal through Pistolian thrash to hyperdrive blur. An intelligent, exciting, and highly recommended album.” Death Church continues to be many fans’ favorite Rudimentary Peni release, and it remains a landmark in the deathrock and anarcho-punk genres. “[Rudimentary Peni’s] innate ability to disturb and provoke the listener on some deep and primal level was almost unrivaled in the punk scene,” Ian Glasper later wrote . “They were demented visionaries towering above a sea of all-too-often shallow and generic peers.” (Full disclosure: I moonlight as a DJ myself, and “Death Church” is my DJ name for a reason.) The LP would even later gain a following among black metal fans. After the success of Death Church , Rudimentary Peni’s future seemed bright.

An audio rip of the original 2009 “Wilfred Owen the Chances” CD-Single

But Rudimentary Peni’s follow-up LP did not come until half a decade later—a massive, 30-track tribute to HP Lovecraft: 1988’s sprawling Cacophony . By this time, Crass Records and Corpus Christi had gone dormant, so the band released the LP back on their own, smaller Outer Himalayan imprint. By the time Cacophony hit store shelves in 1988, Rudimentary Peni’s personnel had run into an incredibly bad string of luck. Bassist, co-founder, and co-lyricist Grant Matthews—the most accessible of the band’s three members for interviews—was diagnosed with cancer. (Thankfully, Matthews fought the cancer and survived.) Singer Nick Blinko’s chronic mental illness also spiraled out of control. Blinko suffers from schizoaffective disorder, the same mental illness endured by fellow singer and creative type Adrian Borland of The Sound , and which, it is generally surmised, contributed to Borland’s tragic suicide in 1999. (Some sources report Blinko suffers from schizophrenia.) Experiencing hallucinations, in 1992 Blinko was committed to a mental hospital under Section 3 of England’s 1983 Mental Health Act, which allows patients to be committed against their will. It was in the psych unit under these circumstances that Nick Blinko wrote Rudimentary Peni’s third full-length LP, the certifiably bizarre Pope Adrian 37th Psychristiatric, not released until 1995.

The 1990s were a strange time for Rudimentary Peni overall. Many thought the band had broken up. After Blinko was released from his mental hospital confinement, the band were convinced to play a sort of “comeback” concert at London’s The Venue on December 20, 1992. This surprisingly large affair was filmed , and it’s the best-quality recorded live moment of the stubbornly camera-shy trio. The band are shaky on the video, and Blinko seems especially ill-at-ease in his frontman role, especially with drunken stage divers hanging around him. The 1992 Venue gig is the only filmed performance of Rudimentary Peni, and indeed to this date, it has been one of their last live efforts at all. (“Playing live is a pain in the ass,” Nick Blinko said in a rare interview with Graeme Wood’s IQ32 zine. “Who needs it?”) US tours were rumored but never occurred throughout the 1990s; optimistic flyers for US shows in the 1990s can be found on the web today, leading many to falsely believe Rudimentary Peni have played in the US. In fact, the bulk of Rudimentary Peni’s live performances were in the early 1980s, and those appearances only number about 25 or so, mostly at very small DIY and anarchist venues or squats. There are some rough audio bootlegs of varying quality of some of these shows.

The punk power trio’s two releases in the 1990s—1995’s Pope Adrian 37th Psychristiatric LP and the artsy 1998 “Echoes of Anguish” EP—although solid—are the weakest releases in the band’s nearly 40-year catalog. During the 90s, singer Nick Blinko’s career began developing along varied paths: He wrote and published a quasi-autobiographical horror novel, Primal Screamer , in 1995. This novel’s reputation has grown over the years, and it was reprinted by PM Press in 2011 after original editions began to fetch over $1,000 on eBay and elsewhere. As well, Blinko’s career as an outsider visual artist began to come into its own. The Henry Boxer Gallery in London, England took on Blinko as a client and began exhibiting his meticulously detailed and macabre artwork. “[Blinko’s] images are constructed of microscopically detailed elements, sometimes consisting of literally hundreds of interconnecting figures and faces, which he draws without the aid of magnifying lenses and which contain an iconography that places him in the company of the likes of Bosch, Bruegel, and the late Goya,” academic Colin Rhodes wrote in his authoritative 2000 work Outsider Art: Spontaneous Alternatives in its section profiling Blinko’s work. “His pictures produced in periods when he was not taking medication bring no respite from the psychic torment and delusions from which he suffers. In order to make art, Blinko risks total psychological exposure.”

As the new millennium dawned, Rudimentary Peni went back into the studio and released the 12-song “Underclass” EP, in many ways a return to form for the band after 1998’s experimental (and, to me, frankly lackluster) “Echoes of Anguish” effort. The band’s new lyrics showed the group going in a new lyrical direction, exploring more broadly, existentially nihilistic—if not downright fatalist—themes as opposed to the socio-political focus of the early 80s. “No other truth but power alone,” Blinko sings in the chorus of a track on “Underclass.” The short, mid-tempo, almost metal-y tracks on 2000’s “Underclass” serve as the general template for the two other EPs that came out of the aughts. Those EPs, “Archaic” and “No More Pain,” are the band’s strongest material since the days of Death Church. In some ways, the material on these EPs warrants comparison to Pink Flag -era Wire—short, driving punk as minimalist art form. Bassist and co-lyricist Grant Matthews even made himself available for interviews at the time of the 2000s EPs; Grant and drummer Jon gave perhaps their most in-depth interview ever for Ian Glasper’s exhaustive 2007 book on anarcho-punk, The Day the Country Died . Grant stated that Rudimentary Peni were back in business and would be releasing an EP of new material every four years: “Underclass” came out in 2000; “Archaic” came out around 2004; “No More Pain” came out in 2008. In 2012, fans eagerly awaited a new EP. It never materialized.

Handwritten lyrics from Rudimentary Peni’s 2004 “Archaic” EP

David Tibet of experimental/apocalyptic folk act Current 93, long an admirer of Nick Blinko’s artwork and lyrics, also began to work with Nick Blinko in the aughts, culminating with the publication of 2009’s The Haunted Head , Blinko’s second book. Around 375 copies were printed, and each came with a one-track CD-single featuring the song “Wilfred Owen the Chances,” the song whose upcoming vinyl version instigated this article. A couple of years later, Tibet also published Blinko’s third book, Visions of Pope Adrian the 37th . Information on that book can be found here .

Nick Blinko of Rudimentary Peni and David Tibet of Current 93, partners in arms.

Rudimentary Peni’s new 7″ single comes out May 29th.

You can pre-order Rudimentary Peni’s “Wilfred Owen the Chances” 7″ from La Vida Es un Mus HERE .

You can listen to or buy the “Wilfred Owen The Chances” 7″ digitally on Bandcamp HERE.

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• anarcho-punk
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• dark entries
• david tibet
• nick blinko
• outer himalayan
• outsider art
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• wilfred owen

Oliver is a writer from Texas. Author of two collections of verse (Destruction: Text I and Thirteen Nocturnes), founder of the Wardance event night in Dallas as well as the Funeral Parade event night in Austin, Texas, and editor of the old Cultpunk.org website, Oliver has written for Bandcamp, Maximum Rock-n-Roll, CVLT Nation, Post-punk.com, Souciant, and has dj'd for Killing Joke, Drab Majesty, and others.

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Rudimentary peni: cacophony.

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For a trio – guitarist/vocalist Blinko, bass player Grant Brand and drummer Jon Greville – Rudimentary Peni always made quite a racket, but the music on Cacophony is mostly a world away from the straightforwardly brutal punk power chords of the band’s ’83 debut album, Death Church . Crawling, wiry bass and washes of formless guitar noise create a feverish, claustrophobic atmosphere in songs like the opening “Nightgaunts” and “The Dead Loved,” but the biggest change in the band’s sound is in Blinko’s vocals. Occasionally, the punky youthful sneer of yore appears but more often his voice is pushed to outlandish extremes; sometimes raw and harsh, often rapidly muttering and semi-coherent, sometimes almost comically deep and solemn. Sometimes, it’s all of those things at once; it’s a bewildering, intense listen.

Even when the music is still more-or-less conventional punk, as on “Architectonic and Dominant,” the riffs are sour and dissonant. Though the music isn’t heavy in the metal sense, one of the closest sonic parallels for Cacophony is Reek of Putrefaction , the chaotic and murky debut album by death metal band Carcass, coincidentally released the same year. That said, indigestible and extreme though Cacophony is in its way, nothing on the album crosses as many boundaries of taste as “Vomited Anal Tract.”

But if you thought the sound of Rudimentary Peni had gone all weird in 1988, the lyrics had undergone an even more radical transformation. Throughout Death Church and most of their earlier work, the band had preached on a series of themes, from the lack of integrity of punk icons to animal rights to the atrocities carried out in the name of the British Empire. On Cacophony , they exchanged their lyrical high horse for – some kind of punning reference to either dark horses or nightmares would be appropriate but let’s not – the disturbed and amorphous horrors of Lovecraft. The songs are sometimes inspired by Lovecraft’s fiction, as with “Brown Jenkin” and “The Evil Clergyman” and sometimes by Lovecraft’s peculiar personality and tragi-comic life, as in “American Anglophile in the World Turned Upside-Down” and sometimes – and these are perhaps the album’s best moments – a potent and very Lovecraftian blurring together of both. It’s never nice, but it’s extremely effective and oddly addictive in the same way that the abrasive early works of the Fall are.

Lovecraft has, by this point in the 21st century, inspired a lot of music – but most of it hasn’t really been peculiar enough to capture the author’s particular essence. At times, Cacophony does just that; the gibbering madness of “Periwig Power” feels especially authentic, and “Dream City” which is at first melodically straightforward and – up to a point – pleasant is a Lovecraftian performance of great and unsettling eccentricity. Even when the author’s influence feels less tangible as on “Arkham Hearse,” “Beyond the Tanarian Hills” with its oddly Bolanesque vocals or “The Day the Universe Ceased (March 15, 1937),” the album doesn’t sound like much else, especially when you factor in the between-song voices and noises. Cacophony is perhaps overly generous at 30 tracks long, but few of them last more than a couple of minutes and the album’s effect is cumulative and immersive. As befits a record dedicated to Lovecraft, it’s dark, complex, overwrought and often a bit silly; and in truth, it’s just as likely to repel anarcho-punks as it is anyone else, but those who are responsive to its particular charms will have to search far and wide to find them elsewhere.

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‘Nobody else could make this music’: the return of underground punks Rudimentary Peni

Namechecked in the Oscar-nominated Sound of Metal, frontman Nick Blinko explains how he negotiated serious mental health issues to make astounding visual art and music

T he succession of cult band shirts worn by Riz Ahmed for his Oscar-nominated leading role in Sound of Metal establish the insider credentials of the film as much as those of Ahmed’s character. One of them will provoke particularly unexpected nostalgia for underground punk fans: a white Rudimentary Peni T-shirt, emblazoned with the cover of the Hertfordshire trio’s 1988 album Cacophony.

Formed in 1980, Rudimentary Peni shuffled awkwardly at the edges of the anarcho-punk scene, their breathless pace and sheer oddity marking them as something else entirely. Though brilliant, they were far from natural performers, especially as vocalist Nick Blinko’s gargled falsetto-to-baritone screech was hard to recreate at full volume live.

The band last played a gig in 1993, so news of a new album this month came out of the blue, especially as it has been 26 years since their previous one. Blinko’s mental ill health has also compromised releases. “In depression, the work is total rubbish,” he says, speaking via email in a rare interview. “No ideas, no drive.” Fans at least have had time to study Blinko’s highly intricate and often disturbing drawings of decapitated priests, giant foetuses and numerous coffins on those early foldout sleeves.

“I really admired Rudimentary Peni,” says producer Steve Albini on discovering them in the early 80s. “They exhibited a kind of mania that personalised their music, like nobody else could make it. All my favourite music sounds like that, like there’s only one way to get to it, through a kind of obsession.”

Cacophony is now seen as an underground classic, as is their 1983 anarcho-punk debut Death Church, and two preceding seven-inch releases which crammed in 12 and 11 tracks respectively. Their ferocity and brevity broke ground for many heavier grindcore bands such as Napalm Death, and made a fan of Albini. “Very few bands, Rudimentary Peni being one of them, kept the perverse and personal quality of punk music intact while evolving musically,” he says.

Cacophony, a concept album about horror author HP Lovecraft, came after a five-year hiatus following Death Church, which had spent weeks near the top of the UK indie chart. Cacophony’s tracks contained a smattering of songs about the band’s core topics of death, clergy and dysfunctional family, but most of the material was about Lovecraft, from his roster of monstrous beings to stories of his writing career.

Blinko doesn’t think the connection sold Rudimentary Peni to Lovecraft enthusiasts, however. “The studiers of Lovecraft prefer slender connections,” he says airily, citing Chicago psych-rockers HP Lovecraft, “not a Lovecraftian cacophony with analysis of quotes.”

As a simple punk album, it was a mess. But those who risked a second listen were rewarded with a counterintuitively cohesive mix of punk, thrash, deathrock, gothic dirge and even something akin to modern classical played through overloaded amplifiers (there is a nod to composer Michael Nyman , meeting a pie-man in a rhyming couplet).

Their next album, 1995’s Pope Adrian 37th Psychristiatric, was largely written in a period when Blinko was hospitalised with severe delusion. He believed he was Nicholas Breakspear, AKA Pope Adrian IV, the only English pope, who reigned between 1154 and 1159 – he and Blinko share the same initials and place of birth, the village of Abbots Langley. The refrain “Papas Adrianus” is repeated from the beginning to end of the album.

Blinko was eventually diagnosed with schizoaffective disorder, the effects of which he details – along with his treatments, including electroconvulsive therapy – in his semi-autobiographical 1995 novel The Primal Screamer.

“I was depressed and attempted suicide at 18, and I saw precursors to those feelings up to that point,” he says. “Then, at about 26, I had a psychotic breakdown. Depression was a more obvious diagnosis – schizoaffective disorder took much longer. At times I had a kind of acute anxiety and couldn’t even think of explaining it, exacerbating the situation more.”

This diagnosis, along with his self-taught and obsessive drawing style, saw Blinko labelled as an “outsider artist”, a sometimes restricting framework given to artists with mental health difficulties or unusual lifestyles. Blinko’s work is remarkable on its own terms, the often-crowded, grotesque scenes with minute detail as likely to be filled with skulls as they are microscopic repeated texts.

The outsider art label has, at least, made his remarkable work desirable and marketable in the art world, with some of his drawings collected in the renowned Collection de l’Art Brut in Lausanne, and others sold at Sotheby’s. Blinko says issues with both health and medication have impacted his ability to work on this art and his music. As well as depression numbing his creativity, when he is in a manic state, he says, “work is utterly profound, but not for long”.

The new album Great War naturally features Blinko’s cover art, and takes its lyrics from the war poetry of Wilfred Owen. It opens with one of bass player Grant Matthews’ unmistakably foreboding intros, before caustic guitar kicks in over Blinko’s plaintive recital of Anthem for Doomed Youth: one minute and 57 seconds of anger that sets the lo-fi, near-black metal tone for the rest.

“I felt World War I was sadly perfect for what we do,” says Blinko. “Some [of the album] even sounds like it. It’s long been deeply associated with madness.” Whether composed amid mania or not, it is utterly profound. The artwork looks great on a T-shirt, too.

Great War by Rudimentary Peni is released 23 April on Sealed Records

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• Rudimentary Peni
• Rudimentary Peni EP (UK Outer Himalayan) 1981 
• Farce EP (UK Crass) 1982 
• Death Church (UK Corpus Christi) 1983 
• The EPs of RP (UK Corpus Christi) 1987 
• Cacophony (UK Outer Himalayan) 1988 
• Pope Adrian 37th Psychristiatric (UK Outer Himalayan) 1995 
• Echoes of Anguish (UK Outer Himalayan) 1997 
• The Underclass (UK Outer Himalayan) 2000 

This London hardcore trio from the Crass family always stood apart from the generic anarchist legions, more like a UK counterpart to the Minutemen. The eponymous 7-inch EP is rough going, as the band is tight but tuneless; Nick Blinko’s screeching vocals obscure heartfelt lyrics skewering complacency. A bit of rhythmic variety suggested promise, however, and the second EP benefits from better production, fascinating sleeve artwork and some mini-masterworks of alienated vitriol. Both were later paired and reissued as The EPs of RP .

Things come together on Death Church , with venomous lyrics ripping through loud and clear (as they should, given titles like “Vampire State Building” and “Alice Crucifies the Paedophiles”). While the songs are not exactly hook-laden, this is quite melodic for the genre. Tempos run from moderate metal through Pistolian thrash to hyperdrive blur. An intelligent, exciting and highly recommended album.

Bassist Grant Brand’s long but successful battle with cancer meant hibernation for Peni during the mid-’80s. By the end of the decade, however, the trio was back with a radical piece of work. Cacophony features a staggering 54 songs (the first album had a mere 20) in about 45 minutes, many only a few seconds long. The trend towards melodicism continues (brief fragments like “The Old Man Is Not So Terribly Misanthropic” are quite catchy), though they remain as cagey, intense and weird as ever. The lyrics abandon politics, dwelling almost wholly on the life, death and work of horror writer H.P. Lovecraft. Peni spin surreal rants like “Nightgaunts” in a sort of obsessive tribute, interspersed with rugose instrumentals such as “Sunset for the Lords of Venus.” With Blinko’s vocals frequently Darth Vaderized by a harmonizer, the album’s sensibility comes close to Monty Python’s black humor — “New England Tombstone Inscriptions” runs off a morbid litany of same, while “A Great Gnashing of Teeth” is exactly that. Cacophony is one of the strangest albums ever made — a Trout Mask Replica for the hardcore age — but the rewards of close attention are ample.

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Rudimentary Peni

Rudimentary peni cacophony lp reissue.

To review a classic record is a difficult task. Ideally, a serious reviewer should pretend to be unfamiliar with the work before writing about it in order to be somewhat objective and maybe offer something fresh. The risk of being in awe before a canonical record and therefore unable or unwilling to think critically about it is also serious. After all, there must have been dozens of reviews about Cacophony in the past 35 years, and most people already know about the record. Why bother when I could just binge-watch a mediocre series that I will inevitably forget about? Originally released in 1988, Cacophony is one of RUDIMENTARY PENI’s most famous recordings and some people rate it as the band’s best work, but I am not one of them. The band’s uniquely deranged, bizarre sound, magnificent creepy aesthetics, their reluctance to play live, and the mystery surrounding them have clearly created a legend, and few bands can claim to be as cult as PENI. There is no doubt that reissuing Cacophony is a brilliant idea and a necessity, as it is a classic album that just should be available. More than a collection of songs, it has to be listened to as a gothic trip, if not a descent, into the life, psyche, and oeuvre of Lovecraft, an uncanny world governed by fear, madness and eeriness. It is as strange as it is particular, unlike any other punk albums. To be honest, I like Death Church much better, and I think Cacophony makes more sense if you take PENI’s previous output into account, as it is a clear departure from conventional punk songwriting, if not from the classical definition of punk itself. Taken individually, the 30 songs that made up the LP are not particularly meaningful—it is only as a cohesive whole, as a full narrative, that they create deep meaning. Musically, Cacophony is hard to describe. Polyphonic, versatile, dark, free, macabre, insanity-driven, undead, strangely sensual, anguished and tortured, creative asylum punk rock. It is great, essential even, but I am still struggling to know if I love it or if I am just fascinated. Whatever the answer, we should all thank Sealed Records.

• Reviewer Romain Basset
• Label Sealed
• Issue MRR #479 • April 2023

Rudimentary Peni Media Person EP reissue

I love witnessing the early flashes of bands as transgressive and iconoclastic as RUDIMENTARY PENI. This is the reissue of their stunning debut EP, originally recorded in 1981 and released on their own Outer Himalayan label. Twelve songs in twelve minutes,  absolute glory remastered from the original tapes. Obviously this 7″ is a sample of a searching period of Nick Blinko’s project, where lines are thrown into dark areas of the psyche that the band would later explore in their sound, but where influences and youthful impetus are also noted, manifested for example in an unabashed love of speed.  The songs are short outbursts full of creativity and precision—you can already see the intention to create a private universe, a mental map, so to speak, that can be expressed through an assault on sounds. “Teenage Time Killer” and “Media Person” already point to the Death Church sound, while the rest inhabit a place where an abrasive, dark Pink Flag exists. This is a cultural artifact that deserves to be in our collection.

• Reviewer Miguel Franco
• Issue MRR #472 • September 2022

Rudimentary Peni Death Church LP reissue

One of the most influential albums in punk history. But you already know this. This is the prototype from which the discographies of entire bands and even world scenes were created. But you already know this. We can also see it as a master plan for a suicide mission: to expose the farce of the great civilizational institutions and destroy tropes deeply rooted in our minds. Let’s say it is also an initiatory journey where the medium is the message and the medium is these 21 songs that expose the topographical record of a particular spirit, that of Blinko. A notoriously sensitive spirit that generates images that can be brutal and cryptic but powerfully vehement lyrically. An album that invites you not to be a mere passive recipient of riffs, but an active participant in a process of psychological and existential transformation, of the opening in the middle of a dark forest, a path of mental resistance. And besides, it just slaps.  Consider it a unique opportunity to own a piece of history.

• Issue MRR #470 • July 2022

Rudimentary Peni Great War LP

Holy shit ! For the first time in 26 years, RUDIMENTARY PENI have released a full-length, although Great War was recorded some years ago before the mysterious hiatus of the ever-shifting project. It works along the tracks of the 2009’s Wilfred Owen the Chances single, in which they take a more dehumanized bleak approach which just adds to the nightmarish sound that plagues their soundscapes. Once again the overlying theme and lyrics deal with anxiety and the ugly face of mental illness in this constraining world. The artwork is amazing as expected and has the ability to turn a record into wall art. One of the most amazing bands to come out of the UK´s anarcho-punk scene for sure, Nick Blinko has cast a shadow on punk music that will take a long time to disappear.

• Reviewer João Seixas
• Issue MRR #456 • May 2021

Rudimentary Peni The E.P.’s Of R.P. LP

This re-release of the band’s two EP’s on one record is a definite treat for those who missed out the first time around. Both sides are packed full of the intense, harsh sound that this English band was known for, as well as more of Nick Blink’s cover act. Not for tame ears or eyes.

• Reviewer Martin Sprouse
• Label Corpus Christi
• Issue MRR #49 • June 1987

Rudimentary Peni Death Church LP

At long last, a RUDIMENTARY PENI album. The band delivers the essence of total imagination into their music, lyrics, and art—complete originality. Fast, creative, and haunting, the fascination continues with this overwhelmingly intense display of lunging vocals, screeching guitars, enticing bass, and roaring drum abrasiveness. Once again, the brilliance that is RUDIMENTARY PENI.

• Reviewer Pushead
• Issue MRR #7 • July/August 1983

Rudimentary Peni Media Person EP

One of the truly magnificent records of 1981, which inexplicably received almost no media attention. 12 thrash garage tunes (a new subgenre) like the best of the MEAT PUPPETS, but with political themes. It’s really too great for words, so get it if you can find it.

• Label Outer Himalayan
• Issue MRR #1 • July/August 1982

Rudimentary Peni Farce EP

A better-recorded 11-song follow-up to their first release, but loses speed and rawness in the process. A bit more post-punk influence here, and a bit more repetitive, but still strong.

• Reviewer Tim Yohannan
• Label Crass Records

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Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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15 men brought to military enlistment office after mass brawl in Moscow Oblast

Local security forces brought 15 men to a military enlistment office after a mass brawl at a warehouse of the Russian Wildberries company in Elektrostal, Moscow Oblast on Feb. 8, Russian Telegram channel Shot reported .

29 people were also taken to police stations. Among the arrested were citizens of Kyrgyzstan.

A mass brawl involving over 100 employees and security personnel broke out at the Wildberries warehouse in Elektrostal on Dec. 8.

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The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva)

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Pages:  379-406

In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation.

Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA

Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected]

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