You met each other in 1975. How exactly ?
Well, if my memory is correct it was on a coach to London from Woking
to attend a anti-Fascist event. As neither of us had comb overs or
beards i think we kind of gravitated together.
As shows « UK79 », chosen for our cd sampler, most of Crisis music
was very genuine punk rock. Did you feel close to other punk bands of
the time ?
Not really. I suppose on the political level it was the The Clash. I think both Doug and me liked Wire.
Crisis was very idealistic & political in a leftist sense. What
did urge you to be so engaged at the time ? Your social origins and
environment, unequalities and injustice, the harshness of the
government, frustration ?
Well my Dad was a shop steward but supported Enoch Powell, and was
also an ex-military policemen. I was also brought up on the first high
rise estate in what was a very rich area of surrey. very close to St.
Georges Hill where a lot of rock stars and rich Arabs lived. So I was a
mixture of views some radical and some reactionary. The 70’s were a time
of political unrest in the UK, and everything then was a lot more
political.
What did you denounce in “UK79” ? How different is UK today from the late seventies ?
Oh the usual, the police, the queen, the NF……you name it. The UK
is very different now. The unions and students where both forces to be
reckoned with, especially compared to now. Even the far left punched
above its weight.
Death In June and Sol Invictus have been less obviously oriented,
more symbolic and poetic. Was is in reaction to Crisis’ too obvious
messages ?
I think so yes. Crisis was painting in very broad strokes, and by the
end every one was very disillusioned. I certainly had had enough of
writing in chants. DIJ was about ambiguity and aesthetics, history and
symbolism.
Death In June and Sol Invictus were considered by many as extreme
right, mainly because of the imagery used. How do you feel about it ?Do
you regret this use of imagery today or do you deplore the stupidity of
these accusations ?
Well, I can only speak for myself. Due to my particular past and
stupidity I have made a point, with the interview with Peter Webb etc of
stating where I stand. I feel its needed because I owe it to the
musicians I work with who are also friends and the fact that especially
in eastern Europe people are getting attacked and some times killed
because of being Gay or Jewish. I don’t want any ambiguity regarding
were I or the band stand on this. As for anyone else I don’t think they
have anything to regret or explain.
Tony, you felt attracted from socialist ideas to a kind of National
Front political bubble in the early 80’s. That’s why you came apart from
Doug and Patrick Leagas ?
Yes and a general slide in to a self destructive life style Just
because I had a death wish i can hardly blame Doug and Pat not wanting
to go along for the ride.
Musically speaking, you both turned, strangely enough, from punk to
folk music. Some could say you faced a kind of identity “crisis” at the
time 🙂 ? Yet, some Crisis songs did announce the post punk scene
(« Alienation ») or even death rock («Kanada Kommando”). How do you
explain this complete change of direction in the early 80’s doing folk
at a time when post punk and new wave scenes were maybe more
fashionable ?
There seems to have been a weird synchronicity with certain artists
taking that direction. For me it was going from bass which is not the
best instrument for song writing to learning (if it can be called that)
the acoustic guitar. I finger picked bass and did the same when I abused
six strings. I’m not sure if it was this that moved it towards a warped
form of folk or not.
What has become of other Crisis members ? Any news ?
Luke lives not far from me and we say hi if our paths cross. not sure
what he is up to. And I spoke briefly with Lester on My Space last year
but I’m not really up on what people are doing.
“Ends!” witnesses of your last gig as Crisis playing the same night as Magazine. Any anecdote of this very special evening ?
I can hardly remember anything. Magazine where a great band and I
wish I had some stories but nothing comes to mind. I’m going to see them
when they play later this year.
Do you know the excellent french band “Frustration”, called after the Crisis song ?
No, I hope they have better luck then we did….
Are you still in contact with Patrick Leagas ?
I exchanged e mails with Pat earlier in the year, but am not
regularly in contact. it would be nice to see him but his job means he
is away a lot.
A few words about Grey Force Wakeford ?
It was a very enjoyable project to do. Me in London, Kris in San
Francisco and Nick in Monaco. Swapping files. I think it worked well.
What are your projects in the next few months ? By the time you read
this I will have played a London concert. A solo album I have done for
the Israeli label Eastern Front is mixed, and mastered, by my producer
Reeve Malka and is on its way to Tel Aviv.
Orchestre Noir still exists ? Who are the core of the project today ? What about Eric Roger ?
Well its now called Orchestra Noir and London based. Its
- Tony Wakeford- Double Bass, Sounds, Electronics, Voice
- M- Percussion, Sounds, Electronics, Vibraphone, Marimba, Jaws harp
- Guy Harries- Flute, Recorder, Melodiica
- Richard Moult- Piano
- Mark Baigent- Oboe
- Renee Rosen- Violin
- Ben Sansom- Violin
- Alexandria Lawrence- Viola
- Jessica Constable- Voice
- Autumn Grieve- Voice
- Emily Ovenden- Voice
We are about to sign to Prophecy and we have a album almost ready. Eric and I no longer work together.
What about ‘The cruelest Month’ by Sol Invictus ? What is the line-up ?
We are working on it for a April release by Prophecy. The line up is
moi, Andrew King, Guy Harries, M, Caroline Jago, Lesley Malone, Renee
Rosen. Its going very well. After its released Prophecy will be
releasing a box set of the back catalogue.
What about Triple Tree ? Is it released ?
Its just come out at last and we have had a rehearsal which went
really well. We are looking to play live. There is talk of a couple of
concerts in Scandinavia.
