Means to an End: The Lasting Legacy of Doom's "Police Bastard" EP
Thirty-one years after it’s initial pressing, Doom's "Police Bastard" EP remains a poignant record.
Although initially released by Discarded Records in the U.K. in 1989, it was ultimately brought to the forefront through multiple sizable pressings by US-based label, Profane Existence. Through PE's extensive distribution network, the record was heavily circulated around the world. Even in a pre-internet era, the EP was readily available and accessible all throughout the underground. Doom quickly became a band championed by an entire generation of punks and crusties, and "Police Bastard" subsequently became the ubiquitous release of the 1990s.
At the time it could be found in seemingly every record collection; from the 17 year old suburban kid just discovering the DIY side of punk, to the established lifers swilling cider in the urban squats. The band’s striking logo would be seen stitched on the vests, jackets and pants of punks in Japan, Europe, South America, the US, and far beyond. Doom were unequivocally THE quintessential crust band of the 1990s. Yet while they would put out many other records throughout the decade, it was "Police Bastard" that made them a household name.
The music on "Police Bastard" offered a slightly new take on the crust style. Up to this point, early progenitors of the offshoot such as Amebix, Axegrinder, and Deviated Instinct had played a more mid-paced, metallic influenced form of grinding crust. Doom stripped away the metal and went with a more roots approach, taking influence from Discharge, Anti-Cimex and Discard. One particularly unique quality of the band was that they managed to write songs that were relatable. Lyrically they still focussed on many pointed political topics, however, they also sang songs simply about "life" from their own perspective. Doom represented a sentiment of hopelessness felt amongst the post-Crass generation: still pissed off at the world, but worn out, depressed, disillusioned and drunk! They touched themes that resonated with people on a personal level while even managing to occasionally inject some humor into the mix. Still, in spite of the overarching gloom, they retained their firm anarchist position on many cornerstone ideologies of the genre such as anti-fascism, anti-capitalism, animal rights, and of course, the bastardly corruption of government and law enforcement.
As with any release, it's not just a record’s initial impact that matters, but also how well it holds up years later. The '90s punk scene is littered with records that were pressed in unfathomable quantities by today's standards yet have been all but disregarded by contemporary taste. It is an era of punk that hasn't aged particularly well, which makes "Police Bastard" even more remarkable for its quality and sustained relevance. The record remains a timeless banger, brimming with filthy guitar tone, basement fuzz bass, deafening thump for drums, and catchy fist-pumping choruses that hook right into you.
In this interview, Negative Insight spoke with long-standing Doom drummer Stick, who in turn reached out to former bassist Pete Nash for further input as well. They shared their recollections of the record, how it came to fruition and the impact that it has had over the last 30+ years.
The sound of Doom incorporated international influences that weren't prevalent in British hardcore at the time. Was it intentional to do something slightly different, and can you discuss the influences that came from outside of England?
Stick: We did rather favour the Scandinavian bands of that era, but still liked a lot of bands from the UK, and they had influenced the Scandi bands before. So it was like a sort of ping pong thing going on. We wanted to be Discard at the time, but for whatever reasons we came out sounding like ourselves. More luck than judgement. That and our lack of any real musical skills (and money for decent gear). At the time a lot of bands were very US influenced (checked shirts and bandanas) and there was a big metal/punk crossover. We were a bit stubborn and just played what we liked. That and lack of musical prowess meant we were never going to progress into a technical metal outfit.
Pete Nash: As Stick said, we had no money to buy decent gear. Our main influences were from the earlier punk era and not necessarily from the current time. We were into the likes of Chaos U.K., Disorder, Amebix and Antisect, and when we started to hear the Scandinavian bands, it was a 'meeting of minds' and seemed new and more aggressive. It seemed more 'direct' and angry, also suiting our lack of playing skills.
Was the style you were playing something that drew interest early on from folks in Birmingham and England at large?
Stick: Well, we got people dancing so we knew we were doing something right, but we never had a master plan. We never thought much beyond the next couple of gigs. It was never a thought that one day it would be a career or even get paid above travelling cost (or even break even). We did it for the doss. It was a good scene, and you could get gigs all over if you were prepared to rough it and gamble on getting actually paid. But it was fun times. When we made it over to mainland Europe, we really saw how organised the DIY scene was.
Pete Nash: That might be the case. There was much more of a crossover thing going on and inevitably bands began to sound similar. I suppose it was getting a bit boring and we started to play stuff we liked. Simple and direct angry punk.
The title, "Police Bastard," has become synonymous with Doom and is a term that has been appropriated in many other settings (both punk and non punk). Was there any story behind the title or incident that inspired it?
Stick: I'm sure John wrote the lyrics while we were travelling to a gig. I think the title/chorus was a bit tongue in cheek. The actual lyrics are pretty on point. The picture on the cover is from a book about the Miner's Strike back in the '80s when the police were very heavy handed and seen as a weapon of Maggie Thatcher, suppressing workers fighting for their livelihoods and communities. But police have always been a symbol of oppression, so not a specific incident (as far as I know), but the song is about being a controlling power, and they are the sharp end of it.
Pete Nash: From my point of view, I do not remember any specific occasion which led to the song. We were always being stopped by the police for looking the way we were. Really, it does not matter what the title of the song was, it's about what the majority of Doom songs are about. Freedom and Equality.
The track "Means To An End" has lyrics relating to the social politics of the scene at the time. Can you give further explanation on them?
Stick: The actual track was written in the studio as we had agreed to record some extra tracks for a 7'', but realized we would be short. So we used a riff Bri had, one Pete had and jammed it. It was a lot longer, but we faded it down (I had the original rough mix but taped over it... doh!). Anyway, John and I wrote the words in the studio, the title/chorus was my idea and that set the mood for the song, which was about the bickering within the scene, usually about straight edge, crusty versus US style, etc. I thought we're on about changing the world and we all in one gig couldn't get along. Human nature to argue, we should try to look at the bigger picture really.
Pete Nash: I think it speaks for itself. There was a lot of frustration in the scene at the time and I reckon it began to turn in itself, but that's just my opinion.
The initial pressing was released by Discarded Records in the U.K. Who ran Discarded, and so you recall how many were originally pressed?
Stick: Discarded Records was run by a guy called Andy Joy. He lived down south, and we used to write to each other (all before mobiles/internet, etc). He eventually moved to Birmingham (where Doom lived). But anyway, he knew we were going into the studio to record the split LP ("Bury The Debt") and asked us if he paid towards the studio time, would we do some extra tracks for a 7''. Which was agreed by all parties (Doom/Hammy). So it was a bit of an afterthought really. At the time we had no real plans to do a 7'', and as I said, we didn't even have enough songs.
Hammy was mixing the tracks for the split LP, then once they were done, Bri took over and tweaked the mix for "Police Bastard." Hammy afterwards said he preferred Bri's mix.
Andy put the money up for the pressing. The cover was a photocopied affair (Xeroxed to you septics...). So when a letter requesting a copy landed on my doormat, I would go to the local shop with my original artwork and photocopy a single cover as we were skint and didn't have funds to bulk buy a load. So when the second pressing came about, we got our mate Skinny to do a new cover which was printed and saved me a lot of fuckin' about. Also by this point people knew us and it was selling a bit faster/easier.
So the first pressing was 1000, second also a 1000. I remember some guy making a fuss that he needed the first pressing, so I just photocopied the first cover and swapped it over as the first and second pressings are pressed from the same plates.
As Hammy from Peaceville is credited with producing the record, was there any talk of it coming out on Peaceville at the time?
Stick: It sort of sneaked out as Hammy included it on the "Total Doom" CD (cheeky blighter).
How did Profane Existence end up being involved in subsequent pressings?
Stick: I was corresponding with them at the time, and Doom was on a bit of a hiatus. So I told him he could put it out and give some money to a local animal shelter but I was told ''No, I'll give you a dollar for every one sold..." Not quite how it eventually transpired, but that's another story.
Pete Nash: Hahaha, I didn't know that. I wouldn't mind not being paid if it was going to a good cause. It was never about the money with Doom, but no-one likes to be told one thing and another thing happening, especially when you're skint. People should be respected.
The EP went on to receive many pressings through the 1990s and continues to be in print today on Profane Existence. Are you surprised by how high the demand for the record has remained, especially since it was on a DIY label rather than something like Earache, Peaceville or similar labels that were pressing higher totals?
Stick: Yeah, I was always amazed when I was told there was another batch getting done. The pressing plates actually wore out at the pressing plant. It is actually just about to come out again as part of a box set of Doom 7''s called "Pretentious Arseholes 7'' Collection."
Pete Nash: Sign of the times unfortunately.
Your relationship with Hammy and Peaceville Records fell out when Peaceville signed on for a deal with Music for Nations who had then become a part of the major label Sony. This put Peaceville under partial ownership of Sony. Can you discuss this and how it all happened? Did you ever speak with Hammy directly at the time?
Stick: We got a letter (used inside the "Fuck Peaceville" double LP), and the fact they were offering to relaunch our career(!!!) on Music For Nations and them knowing our opinions on such thing just fucked us off. Hence we decided to 'take back' our back catalogue with "Fuck Peaceville," but it never really all happened as we imagined it would. After the dust had settled on this, Bri and me bumped into Hammy at a gig and as luck would have it, we actually had a copy of "Fuck Peaceville" with us which we signed and presented to him.
Speaking of those labels, some bands from DIY took a leap into that arena of larger labels and a more professional approach. I’m hesitant to accuse any of these bands of selling out, as they stayed true to their vision, which is fair. Did Doom ever have these opportunities to go in this direction, and what made you decide to stay the DIY route?
Stick: It's nice of you to think we might have had the opportunity to "make it big." Thing is, the way I looked at it is if you are employed to play, someone is going to want to have input on how you're doing, be it what you play, where and when you do it, how you're distributed, etc. I never wanted it to be the way I pay my bills as then there's a pressure to earn. I like that I do it when we all decide (and that's hard enough), and if we like it, great; if other people don't... so what, we do. I think we've been a bit too outspoken to attract many labels.
With everything happening today, particularly in America, regarding the newfound awareness of police brutality, what are your thoughts on the relevancy of the EP?
Pete Nash: It is a sad reflection on humanity.
Are you surprised by the record’s longevity and continued interest over the years? What are your thoughts on its status within underground punk?
Stick: Am I surprised, yes. But I have always been very critical of all we've done. I find it pretty much impossible to sit and listen to Doom stuff without my brain dissecting it, thinking how it could be better. Things like "War Crimes" make me cringe. Thing is, I can carry a beat/actually play these days, but in the early days I was winging it on enthusiasm rather than any proficiency so to me it sounds very amateurish but passionate. It's a quality I love in a lot of music I listen to, but I find it hard in things I’m involved with. Don’t know if that makes sense. It's been so popular, makes it hard to drop from the set.
Any final thoughts or anything to add?
Stick: Stay safe. Act locally, think globally. Come say hello if we ever make it to your town.
For further info on Doom:
Contact: ukdoom@gmail.com
Doom's "Police Bastard" 7" is still in press and available from Profane Existence over at their Online Web Store
Scans of original artwork and master tape courtesy of Doom.
Live photos taken by Scotty Hellkrusher at two separate gigs at Newcastle Riverside 1987 and 1988.
Photos of "Police Bastard" EP from the collection of Negative Insight staff.
