Crass/Poison Girls - Bloody Revolutions/Persons Unknown 7''

Released on 15 May 1980, the "Bloody Revolutions / Persons Unknown" 7'' split single by Crass and Poison Girls stands as a definitive landmark in the UK anarcho-punk movement. Issued via Crass Records, the joint release served as a political fundraiser, with all proceeds dedicated to establishing an independent, self-managed music venue for the punk community at London's Zig-Zag Club. The record is famously housed in a signature, high-contrast black-and-white fold-out poster sleeve designed by artist Gee Vaucher, featuring striking anti-establishment imagery of key political and religious figures from the era.

Musically, the split captures both bands at the height of their creative and ideological influence. Side A features Crass's "Bloody Revolutions," a chaotic, blistering critique of traditional political uprisings that argues violent revolution merely replaces one oppressive ruling class with another. Side B showcases Poison Girls' "Persons Unknown," a brooding, rhythmically driven track led by Vi Subversa's distinct vocals that addresses state surveillance, police overreach, and the systemic erasure of individual dissent. Together, these two tracks offered a cohesive manifestation of the early 1980s DIY ethos, blending uncompromising lyricism with concrete grassroots activism.

The "Bloody Revolutions / Persons Unknown" 7'' split single remains a masterpiece of musical friction, delivering a raw sonic assault that perfectly captures the anxiety and defiance of early 1980s Britain. On the A-side, Crass serves up a blistering, hyper-kinetic barrage of marching snare rolls, serrated guitar distortion, and Steve Ignorant’s frantic, spit-inflected vocals. It is a thrillingly chaotic piece of anti-war punk that rejects the romanticism of violent uprisings, forcing the listener to confront the cyclical nature of political tyranny. Flip the disc, and Poison Girls offer a brilliant, brooding counterweight. Driven by a hypnotic, post-punk bassline and the smoky, theatrical delivery of Vi Subversa, "Persons Unknown" trades sheer speed for a sinister, slow-burning tension that dissects state paranoia and the crushing weight of societal conformity.

Beyond the stark brilliance of the music, this release succeeds because its radical form completely matches its function. The inclusion of Gee Vaucher’s stunning, fold-out collage artwork turns the physical packaging into a tangible piece of political protest, transforming a standard record sleeve into a visual weapon against the establishment. By filtering uncompromising, left-field art through an independent, self-funded infrastructure, both bands created a template for music as direct action rather than passive entertainment. Decades later, the single hasn't lost a shred of its urgency; it stands as an essential, deeply influential artifact that proves punk could be both intellectually rigorous and sonically devastating.

Ripped from a very crackly authentic 7” single to subversive MP3 @ 320kbps

Crass/Poison Girls – Bloody Revolutions/Persons Unknown 7”

A.     Bloody Revolutions

AA. Persons Unknown

‘Bloody Revolutions’ is the ‘Bohemian Rhapsody’ of anarcho-punk. Around the central musical, and symbolic, motif of La Marseillaise, this 6 minutes and 24 seconds packs in five distinct musical movements, linked only by lyrical content. After an initial collage of sound, comes the dull thud of monotone bass and drum over which Steve Ignorant intones, “You talk about your revolution, well, that’s fine /But what are you going to be doing come the time? / Are you going to be the big man with the tommy-gun?”  There is little question that this is a reference to The Clash’s ‘Guns of Brixton’ and ‘Tommy Gun’ although only later in the song does it become apparent that it is also a critique of their perceived posturing. But Crass are far more concerned with wider issues than mere rock star ‘revolutionaries.’ Not for them, the adoption of left wing credentials: ‘Bloody Revolutions’ is an attempt to put a metaphorical bomb under the notion of left wing revolution. Just like Crass themselves, ‘Bloody Revolutions’ is an unholy mess and yet it somehow works. Within the confines of a pop song, there is an intelligent argument posited whether you agree with it or not. The shouty, barking, male lead is counterbalanced by a beautiful femininity. And whatever you think of Crass’ politics, they put their money where their mouths were. From the proceeds of this single, they established the Wapping Autonomy Centre as a central meeting place and venue for anarchists. The fact this closed due to the disagreements of the different factions of anarchists only highlights the naive idealism at the heart of this band.

At a time when female visibility in bands was generally restricted to the glamorous and young, Vi Subversa, formed Poison Girls in her mid-forties. With a honeyed voice that has echoes of Marianne Faithfull, Lesley Woods and Eartha Kitt, Vi uses the phrase ‘Persons Unknown’ to encapsulate all ordinary people whom the authorities may choose to brand with that nomenclature: “Housewives and prostitutes / Plumbers in boiler suits / Truants in coffee bars /Who think you’re alone.”  The suggestion is that any of us could end up like Bennett and Mills, accused of a crime we did not commit and vilified by press and government. Throughout the song, Subversa makes the point that society encourages people to live lives of isolation making it easier for the authorities to exercise control: “Habits of hiding /Soon will be the death of us /Dying in secret from poisons unknown.” The only response to this is to try to reclaim power from the state by not being scared to speak out about what we feel is right: “Survival in silence / Isn’t good enough no more /Keeping your mouth shut / Head in the sand.” The music is swaying, circular, woozy: it reminds me of the music of a carousel, albeit a carousel powered by electric guitars. In the course of the song, Subversa covers the whole gamut of society from “accountants in nylon shirts” to “cleaners of lavatories” but, above all, it is a call to arms challenging each and every one of us to cast aside the social conventions imposed by the state that shackle us: “Flesh and blood is who we are / Flesh and blood are what we are /Flesh and blood is who we are /Our cover is blown….”

by theartyassassin