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Sheffield’s post-punk explosion: synths, steel and skinheads


In the late 70s, the city’s bands set out to create the sound of the future – while trying to avoid getting beaten up. Jarvis Cocker and other leading lights recall a revolutionary scene

Daniel Dylan Wray

Phil Oakey of the Human League performing in Sheffield in 1980
 Phil Oakey of the Human League performing in Sheffield in 1980. Photograph: Martin O’Neill/Redferns

Sheffield in 1977 had a slight feeling of being the city of the future,” recalls Jarvis Cocker. “I didn’t realise that it was all going to go to shit. It was Sheffield before the fall.”

That pre-fall year is the starting point for a new box set: Dreams to Fill the Vacuum: The Sound of Sheffield 1977-1988. Familiar names appear – Pulp, Heaven 17, the Human League, ABC – but they are joined by a wealth of other acts, such as I’m So Hollow, Stunt Kites, They Must Be Russians and Surface Mutants, spanning punk, post-punk, indie and electronic with that droll outsider energy particular to South Yorkshire.

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In 1977, Paul Bower was producing a local fanzine, Gun Rubber, and playing in the Buzzcocks-indebted 2.3. Like Cocker, he recalls the late-70s as being a time of optimism and flux. “There’s this myth of northern miserablism, that everything was shut down and shit,” he says. “But it wasn’t – that came later. It was a really interesting, bustling and creative time.”

Sheffield had plenty of dirt-cheap “little mester” workshops, once used by master craftsmen working in the city’s cutlery industry, and these provided room for bands to move in and experiment. Bower’s band 2.3 shared a space with the Future, an early incarnation of the Human League that featured Martyn Ware and Ian Craig Marsh along with Adi Newton before he formed Clock DVA. “We were enamoured with the New York scene,” says Ware. “In our own little way we were imitating the Exploding Plastic Inevitable.” Bower describes it as: “Andy Warhol’s Factory in the land of Bobby Knutt.”

The pioneering industrial and electronic outfit Cabaret Voltaire had been active since 1973. “They were the godfathers of Sheffield’s new music,” says Simon Hinkler, who played in bands such as TV Product and Artery, as well as producing early Pulp. “You can’t overstate how important they were.” Ware echoes this. “They were our mentors,” he recalls. “Their methodology and lifestyle was something we aspired to. Not so much musically, but as a template for doing your own thing.”

Cabaret Voltaire on stage in the late 70s
 Cabaret Voltaire on stage in the late 70s: the band are credited with kickstarting the Sheffield scene. Photograph: Ray Stevenson/Rex/Shutterstock

Cabaret Voltaire took on Western Works, another old cutlery factory, as their studio. While Ware looked to New York for inspiration, Cabaret Voltaire’s Richard H Kirk was more interested in Germany. “Kraftwerk and Can had their own spaces,” Kirk says. “We thought that was the perfect model. You could be there 24/7 without having to worry about the clock or some idiot engineer not knowing what to do with you.”Advertisement

The Great Skinhead Reunion Brighton. first line up announcement, tickets available now

“The environmental influences were very strong,” says Jane Antcliff-Wilson of I’m So Hollow. “Industrial and austere – steeped in working-class history. Imagination and vision were left to run wild in this bleak landscape.”

By 1978, an explosive flurry of music was coming out of the city. “Punk was year zero and Sheffield really took that to heart,” says Cocker. “They said: ‘Right, we’ll invent the music of the future.’ The Cabs and the Human League really did do that.” It was enough for people to move to the city because of it. Jake Harries of the industrial punk-funk band Chakk was one. “This music didn’t sound like it came from anywhere else,” he recalls. “There was an otherness to it. Sheffield sounded like the place to be – it was electronic, strange and inspiring.”

Not everyone warmed to peculiar new sonic explorations such as Cabaret Voltaire’s heavily deconstructed cover of the Beatles’ She Loves You. “This guy stormed out and physically grabbed me,” says Bower. “He’s screaming: ‘You’ve got to stop them. It’s sacrilege, they are destroying the Beatles.’ I said: ‘Yeah, that’s the point.’” Kirk thrived on the friction. “We went out of our way to pour petrol on the fire,” he says. “We knew people had never heard anything like what we were doing. It was meant to be confrontational.”

The throbbing intensity of Artery’s live shows were as terrifying to some as they were thrilling to others; Clock DVA got banned from venues after their first gig; during one gig, I’m So Hollow were thrown off stage after just two songs. The debut Human League show went down surprisingly well, even if their new singer hadn’t mastered his role yet. “Midway through the gig, Phil Oakey walks off stage, straight through the audience with his high heels on,” remembers Bower. “Comes up to the sound desk and says: ‘How’s it going?’ I said: ‘Fine, Phil, but it’s traditional for the singer to stay on stage during the gig.’”

Because of the conflict that would arise at shows, the Human League began performing with a Perspex shield around them. “Paul Morley wrote it was some extemporisation around alienation in contemporary society,” recalls Ware. “No, it was to stop skinheads gobbing on the synthesisers.”

Heaven 17
 After the Human League split in two in 1980, one half went on to form Heaven 17. Photograph: Virginia Turbett/Redferns

Things got bleaker in the 1980s under Margaret Thatcher, even if some of the music got shinier and major-label attention followed. After the Human League’s 1981 album, Dare, made the revamped band world famous, major labels flocked to the city “signing groups in a bid to cash in on the scene”, says Newton. “We [Clock DVA] signed with Polydor but I consider this a low point, because innovation became secondary to commerciality.”

While pop stardom visited many, it seemed to evade one person. “The 1981 John Peel session Pulp did convinced me that I was going to be a teen star,” says Cocker. “But the 80s were depressing. The city was falling apart and our first album sold virtually nothing. I was crestfallen.” Violence was also an inescapable part of going out during this period. “It was like Pac-Man,” says Cocker. “You had to pick your route and avoid the beer monsters. Violence, or the threat of it, was a constant thing.” One night he had a pint glass land on his head; on another he was beaten up for wearing a patent leather mac. “I put two fingers up at them thinking my bus was about to leave, but it wasn’t, so they just got on it and smacked me.”

However, when the city was in sharp decline and the musical buzz of the early 80s was wearing off, Chakk did something crucial: “We signed with MCA and had them agree that we could build a recording studio out of our advance,” says Harries. FON Studio (named after a piece of local graffiti that read Fuck Off Nazis) was the result. Located in an old karate studio above a metal works, countless bands from across the UK recorded there. Richard Hawley’s teenage group Treebound Story was one. Rob Gordon, who would later co-found Warp records, found himself producing indie bands there in 1986 via a Youth Training Scheme. “It was obvious he was a genius,” recalls Hawley. “We were just kids but he made us sound amazing. He even tolerated us dropping acid, taking all our clothes off, playing the bongos and making a racket.”Advertisement

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“It was a brave thing to do,” Cocker says of FON. “Sheffield was not going anywhere and it showed solidarity. They could have just taken the money and scarpered.” It was a combination of pride and practicality, according to Harries. “We thought it was crazy Sheffield didn’t have a large recording studio considering how much great music it produced. Plus, the country was divided at the height of Thatcherism. We wanted to bring some money from London to where we lived.”

Jarvis Cocker of Pulp in 1991
Jarvis Cocker of Pulp in 1991

FacebookTwitterPinterest Jarvis Cocker in 1991. Pulp formed in 1978 but had to wait till the early 90s before tasting success. Photograph: Martyn Goodacre/Getty Images

Over at Western Works, Cabaret Voltaire’s new neighbour was a bagpipe-playing Scotsman who was building and selling nuclear fallout shelters. “There was a rising sense of fear,” recalls Kirk of the time, one no doubt intensified for the people of South Yorkshire, given it was the location for the harrowing 1984 nuclear apocalypse TV drama Threads.

Even as the socio-political climate grew gloomier, that original spark of autonomy and ambition remained alight, says Hawley. “Even with all the shit going on from those horrible fuckers, a lot of magical stuff happened. Beauty came out of some very difficult situations.” Ware links this mentality to the city’s history. “There is pride in craft in Sheffield that runs through everything – from cutlery to engineering. It’s in our blood.”

Not all bands could contain their steam. “Artery had an intensity that was up there with Joy Division,” says Cocker. “But they didn’t have a Factory Records or a Tony Wilson. They got stuck in Sheffield, got frustrated, got off their heads, and lost it.” 2.3 had a single out on Fast Product before the Human League or Gang of Four, but collapsed. “We were like the Commitments but worse,” Bower says, likening the group to the dysfunctional Irish band from Roddy Doyle’s novel. “By 1979, it was like: ‘Screw it.’”

But others did make it, of course. The days of Cocker and co dodging pint glasses have been replaced by city-wide adulation, an irony not lost on them. “One day, some people were chasing me and Jarv down the street to get our autographs,” Hawley says. “Jarvis turned to me and said: ‘It’s not that long ago since the same people were chasing us down the road trying to kill us.’”

• Dreams to Fill the Vacuum: The Sound of Sheffield 1977-1988 is out on Cherry Red

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Madness have a dig at Boris Johnson and the Eton elite


“The Eton Boys are undefiled/ The Bullingdon Boys, running wild”

Suggs and co. have a dig at Boris Johnson in the lyrics to their new song. CREDIT: Getty Images

Madness have released ‘Bullingdon Boys’, their first new song in three years – and it features lyrics aimed at Boris Johnson and his Eton cohorts – listen to it below.

The pioneering ska band’s snap release is a “barbed swipe at the charlatans, rotters and chancers at the top of the tree who have done their best to take the shine off 2019,” according to a press release.

Inspired by the fact that 19 of the 54 UK Prime Ministers have come from Eton, the new song takes aim at Johnson, who was educated at Eton College before going on to study at Oxford, and his peers with anti-Tory lyrics.

“The Eton boys are undefiled/ The Bullingdon Boys, running wild,” Suggs sings on the chorus. “And England slides into the mist/ No hope they’ll cease nor desist.

Other lyrics include: “They’re making England Great Again/ But make way for the bagmen/ When everything’s been sold and bought/ We’ll soon be off the life support.

The song’s artwork features what is assumed to be a group of Eton students donning a variety of masks, including Halloween villain Michael Myers and Porky Pig. It includes the tagline: “Don’t get bullied by the Bully Boys.”


Accompanied by a supercut video that features scenes from Clockwork Orange, the Batman TV series and The Riot Club, you can listen to ‘Bullingdon Boys’ below:

Earlier this month, Madness performed a show in London where fans were given the chance to pay the same entry price as they did 40 years ago.

Madness Electric Ballroom 2019. Credit Symond Lawes

The Camden Town legends played the Electric Ballroom on November 17 – 40 years to the day since they launched the legendary Two Tone Tour at the very same venue. Tickets were just £2.50 (plus booking fees).

There’s nothing new about musicians having a go at Eton EliteWill Lavin “meanwhile, Boris Johnson has received a backlash for declaring that he’s a fan of The Clash.

The revelation came from a new general election campaign video in which the Prime Minister is seen walking around the Conservative Party headquarters answering questions.

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Glammy Gal Tattoo, Mexico

Well, i definitely was in love with drawing and graphic arts since i was a little girl, so, art does exist in my life since my childhood. I did schooling in Fashion Design, so when i moved to México D.F. the center of México Country in 2006, i met some people involved in the tattoo art. With another 4 skinheads we started “Upsetter Tattoo Shack” in downtown of México City in December 2009, was a great time learning about tattoo art and mixing it with the skinhead subcult. Now the guys are separated and with different ways, but still tattooing, like me.

I’m originally from Guadalajara city, the 2nd city by importance in México, but i lived at different places around México, and now i’m living at the coast, inna beach named “Barra de Navidad”; a beautiful spot in Jalisco, where every year a lot of canadians and americans comes to have a good time with sun, beers and beach. I’m here since 2010 and i really love my place; i have work, friends, my boyfriend and serenity every time i need.

I started my project of a tattoo shop with clothes and mexican kitsch handcrafts, the name is “Old Skull” referred by the Old School, the good times when everything started and the Mexican Sugar Skulls, that visitors from another countries loves because they’re so mexican, and traditionals in México from the “Dia de Muertos” at November 2nd. Our icon is a Mexican Sugar Skull with moustache, a glass of tequila and a big cigarette, sarape and hat, doing his thing haha.

 Well, in the beach doesn’t exist a skinhead scene, i’m the only skinhead girl over there, but i’m happy with my friends who are rastas and my boyfriend who are skater. My music and love for my way of live follow me to every place i’m. In my city, Guadalajara, are a little new scene of young guys from 17 to 22 years very involved in the Jamaican music and skinhead style, but i’m feel older sometimes haha, (i’m 25) because i’m skinhead since i was 16 years, so, sometimes i get bored with the same things, do u know?

When i lived at México City, i had the opportunity to see many international Dj’s and artists from Jamaica and many places of the world, like Alfonso & Lola Diez (Torpedo 17) from Spain, Ryan White from San Francisco, Ca., Mr. Symarip Roy Ellis, Granadians from Granada, Spain, The Selecter, Desmond Dekker, Tommy Rock-A-Shacka from Japan, Mighty Ash Aquarius from UK, and many more that i can’t remember at this time.

25 years old, proud Skinhead Girl since 2002, 9 Years and counting, and i really can’t imagine myself as another person, with different choices, because Jamaican music mainly, smart clothes and beer are following me since i put my first pair of Dr. Marten’s when i was a little girl.

I’m skinhead because after the choice by fashion or influence, it becomes to be part of your life, your ideas and identity. Now sometimes i get mad with some girls & boys who started in the “fashion way” because internet is the easier way to get the groove, but i remember the first persons that i met, like Rose from Colombia, Helena from Catalunya, Chema from México City and Iván from Guadalajara, because they was my first skinhead friends, and internet still didn’t exist, if u needed to make an article for a zine, u wrote letters from the other side of world and waited 3 weeks to get the answer. It was very tasty; wake up in the ,morning and see the postman in your door, knocking with a pack from UK or Spain in his hand. Now all is easier, but still have known good people around the world, like u Symond.

Thanx a lot for the space in Subcultz. com, thanx for keeping the torch alive, my best wishes from México, the dub side of the world. xoxo 

If you are lucky enough to visit the beautiful Mexico, go find Glammy Gal and get some ink. she can be found smiling at her shop. Address is: Gomez Farías Street 59-3 in downtown of San Patricio, Melaque, Jalisco.

Atte: Johanna Glammy Gal*

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Mummy’s Darlings

Mummys Darlings German Skinhead band

Mummy’s Darlings / Germany, Bavaria

2005 it all started. 4 friends from Bavaria that already had been playing German Oi!-Punk-Music together decided to start a new Band – with true and basic Skinhead music, Oi! like it used to be. During one of those nights full of music and booze the decision fell to have a go with the Name “Mummy’s Darlings”. Not a very sober decision but still the best we could make. There is no need for a wannabe badass name anymore. For us four our friendship, good music and having the best time of our lives is the most important thing – being on stage combines what we all love most. We don’t need to put politics into our lyrics cos being skinhead means a lot more to us.

It only took us two years until we were given the chance to record our first Album “Stormtroopers of Rock ‘n’ Roll”. We spent a lot of great nights on stage and at the bar. We had some very special gigs supporting great bands like Indecent Exposure, Condemned84, Skinfull and many others and our love for the good old skinhead-sound started to spill over to audiences throughout Germany, Austria and the Czech Republic…

Mummy’s Darlings live

In 2009 we recorded our second album “For the Bootboy’s Soul” in which we payed tribute to the cult we all love so much and due to this very special year we added a musical birthday present for the best scene ever. With songs like “40 years of burning hearts” we went ahead on our way to play smart, rude and very rootsy Oi!-Music in the good old English style. Our music led us to parties in Italy, Austria, the Czech Republic and even England – everywhere we met great Skinheads and Byrds who love the music and lifestyle as much as we do. Small diy-Gigs – promoters and bands, everyone gives his best to make every weekend the best you ever had – can you imagine something better? We can’t – that’s why we play oi! Music – for the skinheads’ souls!

Submitted by TWISC