Hubbry Logo
AmebixAmebixMain
Open search
Amebix
Community hub
Amebix
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Amebix
Amebix
Amebix
View on Wikipedia
from Wikipedia

Amebix were an English crust punk band from Tavistock, Devon. A pioneer of the crust punk genre, Amebix's merger of anarcho-punk and post-punk with elements of heavy metal, particularly early extreme metal, inspired musicians who would go on to define the genres of grindcore, black metal, death-doom and metalcore.

Key Information

Formed in 1978 as the Band with No Name, the band's two consistent members were brothers Rob "the Baron" Miller (vocals, bass) and Chris "Stig" Miller (guitar). The band's earliest releases were post-punk, before beginning to adopt elements of heavy metal music on their debut album No Sanctuary (1983). This album was one of the earliest examples of the crust punk genre, a style which the band would codify with its follow up Arise! (1985). Shortly after the release of their third album Monolith (1987), the group disbanded. The band reunited in 2008, along with drummer Roy Mayorga, a lineup which released their fourth album Sonic Mass (2011), before disbanding again in 2012.

History

[edit]

1978–1980: Formation

[edit]

In 1978 Rob Miller was involuntarily discharged from his role as an Air Training Corps sergeant in 1978, due to being intoxicated while on duty when stationed in the Netherlands.[1] The same year, his older brother, Chris "Stig" Miller returned to Devon from Jersey. This led the pair to plan forming a band together.[2] They initially came together under the name the Band with No Name, in reference to Clint Eastwood's character the Man with No Name.[3] This founding lineup included Rob Miller on vocals, Chris Miller on guitar, Clive Barnes on bass and Andy Hoare on drums.[2]

In 1979 the band changed its name to Amebix.[2] The name was created from parts of words and sounds to create a word with its own meaning, and Stig Miller has said is "something that has no real meaning outside of itself". The idea of creating such a name was inspired by a mantra given to Stig Miller by a local "guru" when he was thirteen years old, to help him improve his behaviour in school.[3] The band recorded a self-titled six-track demo. Miller was working as a journalist and was sent by his publisher to review a live performance of anarcho-punk band Crass at Abbey Hall in Plymouth. He presented the demo to the band, who included the track University Challenged on their Bullshit Detector compilation.[2]

1981–1984: Who's the Enemy and No Sanctuary

[edit]

In 1981 Miller and Amebix relocated to Peter Tavy and began living with new drummer Martin Baker in Glebe House, the former site of a Saxon burial ground. However, soon after Baker's parents forced him to depart from the band, relocated to London where he was diagnosed with paranoid schizophrenia. The song "Largactyl" was written about his experience.[2] After Baker's departure from the band, the band moved to Gunnislake in Cornwall to live with newly recruited keyboard player Norman Butler. They then relocated to Bristol, where they began squatting with local punk bands like Disorder and Chaos UK. They released their debut EP Who's the Enemy on 28 August 1982 through Spiderleg Records, whom they had been turned onto in the brief period they were living with Crass. The EP peaked at number 33 on the UK Independent Singles and Albums Charts.[2] In early 1983 they released single "Winter", which reached number 18 on the UK Indie Chart, staying on the chart for 7 weeks.[4]

In November 1983 they released their first album No Sanctuary, which reached the top 10 of the U.K. Independent Music Albums Chart.[5] It gained them the attention of Dead Kennedys vocalist Jello Biafra, who signed them to his record label Alternative Tentacles. This led to their subsequent European headline tour. While in Bologna, Italy, Miller and the other members of Amebix were arrested for vandalism of a squat.[2]

1985–1987: Arise!, Monolith and first disbandment

[edit]

Hiring drummer Robert "Spider" Richards in 1985,[6] the band's second album Arise! was released on 14 September 1985 through Alternative Tentacles. It peaked at number 3 on the U.K. Independent Music Chart.[2]

They soon after relocated to Bath, Somerset and halted their squatting. In 1987 they released their third album Monolith through Heavy Metal Records.[2] However Amebix soon began facing major writer's block,[2] which led them to disband in 1987.[7] Following the disbandment, Spider, George, and Stig went on to perform in Zygote.[8]

2008–2012: Sonic Mass and second disbandment

[edit]

In 2008 the Miller brothers reformed Amebix, accompanied by drummer Roy Mayorga.[9] On 25 July 2010 they released the EP Redux through Profane Existence.[10] On 22 July 2011, they released the 12" single "Knights of the Black Sun".[11] On 23 September 2011 they released their fourth studio album Sonic Mass.[12] In November 2012, the band parted ways once again.[13]

In 2014 Rob "The Baron" Miller joined forces with Jon Misery (Misery), Andy Lefton (War//Plague) and Michel "Away" Langevin of Voivod to form Tau Cross.[14]

In 2019 Stig Miller and Mayorga briefly formed a band with Casey Chaos, recording eighteen songs but never releasing any or deciding on a name.[15] In 2023, Stig Miller and Mayorga formed False Fed with Jeff Janiak of Discharge on vocals and JP Parsons on bass.[16]

Musical style

[edit]

Amebix began their career playing music heavily indebted to Killing Joke. They first embraced metal influences on their 1983 album No Sanctuary, which was one of the earliest releases in the crust punk genre.[17] However, the album retained much of the band's early post-punk sound, to the extent that Altaride Chronicles magazine called the album "post-punk crust".[18] The crust punk sound was codified on their subsequent album Arise (1985).[17][19] The group however continued to differentiate themselves from the other groups in the genre, by continuing to use elements of post-punk, with Maximum Rocknroll writer Joao Seixas describing them as "expanding on what Killing Joke began with, a Motörhead-inspired sense of rock'n'roll songwriting, and adding a taste of what can be described as deathrock-oriented post-punk guitar atmosphere."[20]

Amebix have cited influences including Bauhaus, Killing Joke, Joy Division,[21] Black Sabbath,[22] Motörhead,[23] Crass,[24] Brian Eno, the Stranglers, Devo, Pink Floyd, Accept, Mercyful Fate, Siouxsie and the Banshees, Magazine, Bruce Springsteen, Neil Young, T. Rex,[25] Iggy Pop, Lou Reed, Sex Pistols, Hawkwind,[3] Stiff Little Fingers, Cockney Rejects, Procol Harum,[26] David Bowie and Bad Brains.[27] Furthermore, the members of Amebix and first-wave black metal band Celtic Frost tape traded with one another, leading to some shared musical characteristics.[28]

Legacy

[edit]

By being one of the first bands to blend anarcho-punk and heavy metal music, Amebix are often cited as one of the key bands that helped to create the crust punk genre, and as being influential to many extreme metal bands, especially black metal bands.[17][29]

They have been cited as an influence by musicians including Sven Erik Kristiansen of Mayhem,[30] Napalm Death,[31] Doom,[32] From Ashes Rise,[33] Gallhammer,[34] Rudimentary Peni,[35] Integrity,[36] Nausea,[37] Disclose,[38] Bolt Thrower,[39] Septic Tank,[40] Starkweather,[41] Mortiis,[42] Heresy,[43] Born Dead Icons,[44] Hellbastard,[45] Deathspell Omega,[46] SECT,[47] Winter,[48] Sepultura and Deviated Instinct.[49] In an interview with The Guardian in 2016, the band was cited along with a number of other British anarcho-punk bands of the early 1980s as being an influence to the American post-metal group Neurosis.[50]

Members

[edit]

Final line-up

[edit]
  • Rob "the Baron" Miller – vocals (1978–1987; 2008–2012), bass (1979–1987; 2008–2012)
  • Chris "Stig" Miller – guitar, backing vocals (1978–1987; 2008–2012), keyboards (1978–1979)
  • Roy Mayorga – drums, percussion, keyboards (2008–2012)

Past members

[edit]
  • Clive Barnes – bass (1978–1979)
  • Andy "Billy Jug" Hoare – drums (1978–1981)
  • Ric Gadsby – bass (1979)
  • Martin Baker – drums (1981)
  • Norman Butler – keyboards (1981–1984)
  • Virus – drums (1981–1985; died 2015)
  • Jenghiz – keyboards (1984)
  • George Fletcher – keyboards (1984–1986)
  • Robert "Spider" Richards – drums (1985–1987)
  • Andy Wiggins – keyboards (1986–1987)

Timeline

[edit]

Discography

[edit]

Studio albums

[edit]

EPs

[edit]

Live albums

[edit]
  • V živo (1986)

Compilation albums

[edit]

Singles

[edit]
  • "Winter" (1983, 7", Spiderleg Records)
  • "Knights of the Black Sun" (2011)

Demos

[edit]
  • Amebix (1979, self-released)
  • Right to Ride (1987, self-released)

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Amebix

View on Grokipedia
from Grokipedia
Amebix was an English band formed in 1978 in , , by brothers Rob "The Baron" Miller on vocals and bass and Chris "Stig" Miller on guitar, initially operating as "The Band with No Name." The group pioneered the genre by fusing anarcho-punk's raw aggression with heavy metal's downtuned riffs and apocalyptic themes, creating a gritty, metallic sound that influenced subsequent punk and metal subgenres. Active until disbanding in 1987 amid personal and creative shifts, Amebix released key works including the 1983 compilation Who Needs Enemies?, the 1985 debut album Arise! on , and the 1987 full-length , which showcased their evolving heavier style drawing from influences like and . The band's lyrics emphasized , environmental decay, and dystopian futures, aligning with the ethos while innovating sonically through self-recorded efforts and DIY production. Their output, though limited, established them as foundational to crust punk's development, with Arise! particularly noted for bridging punk and metal worlds. Reuniting in 2008 for live performances and documentation, Amebix toured internationally, including first U.S. shows, and issued Sonic Mass in 2011 before splitting again in 2012 to pursue individual projects. Post-reunion, core member Rob Miller formed , extending Amebix's legacy into and metal circles, underscoring the band's enduring impact on despite their intermittent activity.

History

1978–1980: Formation and early activity

Amebix formed in 1978 in , , , amid the burgeoning punk movement, initially operating as "The Band with No Name." The band's core originated with brothers Rob Miller (vocals and bass, later known as "The Baron") and Chris "Stig" Miller (guitar), who assembled the group alongside school friends to address personal boredom while on the dole and to pioneer what Stig described as "thinking man’s rock." Early members included drummer Andy "Billy Jug" Hoare and guitarist Clive, with an initial drummer named Martin who departed amid personal challenges. The group's nascent activities centered on rehearsals in rural settings, reflecting a raw engagement with punk's DIY principles without any commercial aspirations. They embraced lifestyles, sharing resources and spaces with emerging local punk acts, and performed in village halls and informal gigs that emphasized experimentation over polished output. These efforts produced unpublished demos capturing their foundations, rooted in the era's anti-establishment ethos rather than recording industry pursuits. During this period, the band began transitioning from straightforward punk aggression toward incorporating heavier sonic elements, influenced by the South West England's isolated punk undercurrents and broader scene figures like , though still firmly grounded in DIY . This foundational phase in laid the groundwork for their distinctive sound, predating any relocation or formal releases.

1981–1984: Emergence with "Who's the Enemy" and "No Sanctuary"

In 1982, Amebix released their debut EP, Who's the Enemy, as a 7-inch vinyl on Spiderleg Records, featuring four tracks that captured a raw, aggressive fusion of ferocity and proto-crust aggression. The recording, pressed in limited quantities, emphasized short, intense bursts like the hardcore-leaning title track alongside more brooding elements, reflecting the band's shift from earlier punk roots toward heavier, dystopian sonics. By November 1983, Amebix followed with No Sanctuary, a self-financed 12-inch mini-album on Spiderleg Records, comprising seven tracks recorded at Southern Studios in . The release delved into themes of societal control and dehumanization, evident in songs such as "Battery Humans," "Control," and "," with distorted guitars, pounding rhythms, and ominous atmospheres signaling the band's pioneering role in crust punk's development. Throughout 1981–1984, Amebix solidified their underground presence by gigging in squats and informal punk gatherings across the , including Bristol's vibrant scene, where they squatted alongside bands like Disorder. Operating without commercial backing, their activities aligned with the ethos, bolstered by ties to the network through Spiderleg Records—an imprint linked to Crass's DIY infrastructure—and shared opposition to state and institutional authority.

1985–1987: "Arise!", "Monolith", and initial disbandment

In 1985, Amebix released their second studio album, Arise!, on September 14 through Alternative Tentacles under catalog number VIRUS 46. The album was recorded in June 1985 at SAM Studios using 16-track equipment, featuring tracks such as "The Moor," "Axeman," "Fear of God," "Largactyl," "Drink and Be Merry," "Spoils of Victory," "Arise!," "Slave," "The Touch," "Winter in My Heart," and "No More Pain." It marked a refinement of the band's sound, integrating anarcho-punk aggression with heavy metal riffs and atmospheric elements, which helped prototype the crust punk genre's gritty, metallic edge. Following Arise!, Amebix shifted toward more experimental territory with their third album, , issued in 1987 via Heavy Metal Records (catalog HMR LP 99). Recorded and mixed in May and June 1987 at SAM Studios in , the album emphasized doom-influenced atmospheres, thrash structures, and dense, laden production amid tonal shifts from melodic passages to atonal blasts. However, distribution and release challenges with Heavy Metal Records hindered its reach, contributing to frustrations over poor promotion and sales in the punk underground. By late 1987, Amebix disbanded amid cumulative burnout from relentless touring, chronic financial hardship, and the fallout from 's logistical issues, though the split occurred without reported interpersonal acrimony among members. Vocalist "The Baron" Miller, left penniless with a broken arm, withdrew to rural isolation, signaling a pivot away from the band's demanding lifestyle.

2008–2012: Reunion, "Sonic Mass", and final disbandment

In 2008, the Miller brothers—Rob "Stig" Miller on vocals and bass and Paul Miller on guitar—reformed Amebix after a two-decade hiatus, recruiting drummer Roy Mayorga to complete the lineup. The reunion was spurred by ongoing fan interest and the brothers' desire to revisit their musical roots, leading to initial live performances and subsequent tours across Europe and the United States between 2009 and 2011. These shows often featured material from their 1980s catalog alongside new compositions, drawing crowds nostalgic for the band's pioneering crust punk sound. The reformed lineup entered the studio to record fresh material, culminating in the release of Sonic Mass on September 23, 2011, via the band's own Amebix Records imprint in partnership with . The album comprised eight tracks, including the single "Days," and showcased a matured production approach with clearer mixes and layered instrumentation, while preserving Amebix's signature heavy riffs and dystopian themes. Reception was divided: some critics and fans lauded its sophistication and relevance after a 24-year gap, viewing it as a worthy , whereas others felt the polish diluted the raw aggression of earlier works like Arise!. Amebix disbanded for the second time in November 2012, with Stig Miller announcing the split via an official statement citing personal health challenges, major life changes, and irreconcilable internal dynamics that hindered sustained touring and creative output. The band had aspired to promote Sonic Mass more extensively but cited logistical and interpersonal factors as barriers. No additional releases or reunions have materialized since, marking the end of Amebix's active period as of 2025.

Musical style

Influences

Amebix's musical style drew from the raw energy and diversity of early punk before its later conformity, encompassing influences like T. Rex, , and in their formative years, which instilled a sense of individuality and originality. The band valued punk's initial creative freedom, predating the more uniform approaches seen in acts like and Discharge, though the grinding rhythm pioneered by Discharge became a foundational element in the sound Amebix helped define. Post-punk and gothic elements contributed atmospheric depth, particularly from , whom vocalist Rob Miller cited as profoundly impactful after witnessing their intense, near-psychotic live performance at a 1980 CND rally in . This influence infused Amebix's work with tribal rhythms and brooding tension, distinguishing it from straightforward punk aggression. Heavy metal provided riff-driven heaviness and power, with offering dark, imaginative sympathy that aligned with the band's ominous tones, and supplying unrelenting energy. Claims of Venom's influence have been explicitly rejected by Miller, who described their early material as comically amateurish rather than inspirational. Beyond direct musical sources, the band's sound emerged amid the DIY ethos of the squat scene and the economic turmoil of 1970s Britain, marked by rising rates exceeding 5% by 1979 and widespread industrial decline under , which fueled punk's drive and self-reliant production methods. These conditions encouraged Amebix's rejection of commercial norms in favor of independent recording and distribution.

Characteristics and evolution

Amebix's music is characterized by a crust punk foundation featuring downtuned guitars delivering thick, distorted riffs, dual-layered vocals alternating between shouted and growled deliveries, and militant drumming incorporating rhythms and rapid fills. The band's lo-fi production, marked by raw techniques and minimal post-processing, created a gritty, cavernous sound that emphasized aggression over polish, serving as an intentional aesthetic choice rather than a technical shortcoming. This sonic palette evoked a sense of dystopian urgency, with heavy bass lines anchoring epic song structures that blended short, pummeling bursts with atmospheric interludes. The band's sound evolved from the faster, more punk-driven tempos of their early 1980s releases, such as the 1982 "Who's the Enemy" EP and 1984's "No Sanctuary," which featured urgent, high-speed hardcore elements with emerging metallic heaviness. By their 1985 debut album Arise!, Amebix shifted toward a sludge-infused crust style, slowing tempos to emphasize primal, mid-paced grooves and incorporating gothic atmospheric touches, resulting in a heavier, more immersive urgency that fused hardcore punk's velocity with metal's density. On the 1987 album Monolith, the band further progressed into psychedelic doom territories, introducing up-tempo thrash passages, melodic leads, and experimental textures that reduced some of the prior heaviness in favor of dynamic speed variations and tribal rhythms, while retaining core crust aggression through sporadic D-beats and echoing vocals. This marked a departure from Arise!'s relentless drive toward a more varied, narrative-driven structure exploring nuclear and apocalyptic motifs sonically via extended builds and ominous atmospheres. During their 2008–2012 reunion, culminating in the 2011 album Sonic Mass, Amebix refined their evolution with a cleaner, modern production that integrated keyboards for ambient swells and narrative vocal passages over foundational riffs, blending the sludge heaviness of Monolith with Arise!'s raw energy but prioritizing emotional builds and maturity over unyielding grit. This phase highlighted a matured hybrid of punk's militancy and metal's expansiveness, though it drew mixed reactions for its relative polish compared to the band's earlier lo-fi ethos.

Lyrics and ideology

Core themes

Amebix's lyrics prominently featured anti-militarism, framing organized military forces as engines of dehumanization and existential threat, particularly in the context of nuclear anxieties. In "Army of God" from the 1985 album Arise!, the band satirized zealous obedience to through of fanatical soldiers as divine warriors, evoking biblical to underscore the of devotion leading to mass destruction. This motif extended to broader apocalyptic visions, warning of nuclear annihilation as a plausible outcome of escalating global tensions, as reflected in recurring references to "carnage" and "the carcass of nations" across early releases like Who's the Enemy (1982). Environmental degradation intertwined with critiques of totalitarianism in tracks decrying "progress" as a veneer for societal regression and control. The song "Progress?" from the 1987 album Monolith lambasts technological advancement as a mechanism of regimentation, with lines such as "This progress will mean a number / Branded to your skin" illustrating dehumanization via state-corporate machinery, akin to livestock herding toward slaughter. Such portrayals linked industrial expansion to ecological ruin and authoritarian consolidation, rejecting utopian narratives of development in favor of empirical observations of resource exploitation and surveillance. Dystopian futurism permeated the band's work, drawing from tropes and to depict post-collapse worlds where institutional power—both governmental and corporate—erodes human agency. Lyrics emphasized individual survival and defiance amid , as in apocalyptic scenarios of inevitable decay over collectivist redemption, fostering a of personal resilience against overwhelming forces. These themes crystallized amid 1980s Britain, where policies under Prime Minister , including and military buildup, provided causal impetus for rejecting intertwined state and market tyrannies as catalysts for dystopic outcomes.

Reception and critiques

Amebix's lyrics received acclaim within circles for their unfiltered condemnation of authority, exploitation, and institutional control, as seen in tracks like "Battery Humans," which probe human morality beyond mere animal rights to broader societal complicity. Band members emphasized provoking thought across all social strata rather than preaching to the converted, aligning with the era's DIY ethos of individual responsibility over imposed ideologies. This resonated as prophetic critique in underground scenes, where themes of anti-commercialism and rejection of media were viewed as essential calls to personal conviction. Critics within and adjacent to punk subcultures, however, highlighted a pervasive in the band's apocalyptic visions, such as evocations of humanity's subjugation to ineffable, overwhelming forces in songs depicting post-nuclear wastelands or inexorable decay. This bleakness, often tied to motifs of inevitable doom without delineated paths for resistance or reconstruction, led to characterizations of the work as nihilistic, prioritizing atmospheric despair over actionable . Interviews reveal no explicit endorsement of structured solutions, with emphasis instead on inner power and , potentially underscoring an ideological vagueness that overlooked empirical strategies for systemic change. While mainstream outlets largely overlooked or dismissed such expressions as emblematic of punk's purported during the 1980s, Amebix endured through dissemination, including bootlegs that sustained their influence in crust and hardcore networks despite limited official releases. The romantic undertones in nature-reclaiming clashed implicitly with the technological apparatus of their recordings—amplifiers, studios, and distribution—yet band statements framed this as pragmatic punk rebellion rather than primitivist purity, revealing no self-acknowledged contradiction in contemporaneous reflections.

Legacy and influence

Impact on punk and metal genres

Amebix played a pivotal role in pioneering crust punk by integrating anarcho-punk's raw urgency with heavy metal's downtuned riffs and brooding atmospheres, particularly on their 1985 album Arise! and 1988's Monolith, which featured distorted guitars and doomy structures that diverged from the faster tempos of contemporaries like Discharge. This fusion, emerging from the UK squat scene in the early 1980s, established crust as a distinct subgenre emphasizing metallic heaviness over pure punk speed, influencing subsequent bands to hybridize punk's DIY ethos with metal's sonic density. Their sound directly shaped and trajectories; Napalm Death's has referenced Amebix's riffing as foundational to early grind's metallic edge, while credited Arise! for inspiring their shift toward atmospheric, crust-infused on albums like Souls at Zero (1992). Sepultura's similarly acknowledged Amebix's influence on incorporating crust heaviness into thrash and hybrids, evident in tracks from Beneath the Remains (1989) onward. Amebix bridged punk to by providing atmospheric templates that and adapted; Tom Gabriel Warrior of cited Monolith's monolithic, echoing production and slow, crushing passages as precursors to their own experimental doom on To Mega Therion (1985), confirming and tonal debts in retrospective interviews. This causal link is quantified by multiple acts tracing blackened, crust-adjacent heaviness back to Amebix's innovations, predating Venom's punk-metal experiments. The band's adherence to DIY principles—self-releasing via cassette networks and touring squats from to —propagated a legacy of autonomous production in punk-metal hybrids, enabling bands like Deviated Instinct and Axegrinder to sustain underground circuits without major label intermediation. However, band members later expressed ambivalence, noting that their unintended crystallization of "crust" aesthetics sometimes prioritized subcultural immersion over broader activist efficacy, as articulated by vocalist Stig Miller in reflecting on the genre's escapist tendencies.

Broader cultural reception

Amebix developed a in the 1980s punk underground, where their raw aesthetic and thematic focus on dystopian resistance resonated with subcultural participants navigating Thatcher-era disillusionment, yet their output circulated primarily through independent channels without penetrating mainstream markets or charts. The band's post-2000 revival, spurred by catalog reissues from labels including and Amebix Records, alongside reunion tours featuring sold-out niche venues and festival slots, briefly amplified visibility among dedicated fans, though operations halted definitively after their 2012 disbandment, leaving endurance confined to archival appreciation rather than evolving discourse. Retrospective portrayals in punk media often elevate Amebix to mythic status for pioneering hybrid sounds, but such narratives overlook their historically small audience and reliance on word-of-mouth dissemination, with long-term cultural persistence manifesting in fan-maintained trading networks and symbolic artifacts like patches rather than quantifiable broader societal metrics or transformative appraisals.

Controversies

Rob Miller's later associations and Holocaust denial allegations

In 2013, Rob Miller, vocalist of the disbanded Amebix, formed the crust punk and heavy metal project Tau Cross, enlisting members from bands including Voivod and Misery. The band's third album, Messengers of Deception, included liner notes crediting lyrical inspiration to several figures, prominently thanking Gerard Menuhin, whose 2015 book Tell the Truth and Shame the Devil describes the Holocaust as the "biggest lie in history" and promotes denialist narratives. Menuhin, son of violinist Yehudi Menuhin, has been linked to neo-Nazi activism in Germany through such publications and public statements rejecting established Holocaust historiography. On July 3, 2019, Relapse Records announced it was severing ties with and canceling the album's release, citing the ' endorsement of Menuhin as incompatible with the label's values against . Miller responded publicly, framing the label's action as and defending the inclusion as part of free inquiry into controversial ideas, without disavowing Menuhin or directly addressing claims; he later reiterated support for engaging such sources in a 2021 , emphasizing opposition to imposed orthodoxy. Tau Cross's other members issued a joint statement expressing shock and disassociation, stating they were unaware of Menuhin's background and rejecting any alignment with denialism. Chris "Stig" Miller, Rob's brother and Amebix co-founder on bass, publicly distanced himself on July 12, 2019, affirming that Amebix's anarcho-punk ethos rejected fascist or Nazi sympathies and expressing surprise at Rob's associations, which he viewed as a personal divergence post-band. The incident amplified scrutiny of Rob Miller's post-Amebix writings, including essays and lectures on theories involving global elites and historical revisions, often interpreted by critics as veering into far-right territory despite their framing as anti-authoritarian critiques. These have been contrasted with Amebix's original anti-fascist punk roots, though Miller maintains they stem from independent research unbound by institutional narratives.

Members

Final lineup

The final lineup of Amebix during its 2008–2012 reunion period centered on the enduring partnership of brothers Rob "The Baron" Miller and Chris "" Miller, with American drummer completing the trio. Rob Miller provided vocals and bass, maintaining his foundational role from the band's original incarnation, while Miller handled guitar and backing vocals, ensuring stylistic continuity rooted in the duo's creative vision. Mayorga, known for his work with acts like and Nação Zumbi, joined in 2009 to contribute drums and keyboards, enabling live performances including a U.S. tour and the recording of the final album Sonic Mass in 2011. This configuration persisted until the band's announced dissolution on November 30, 2012, prompted by between the Miller brothers.

Former members

The original lineup of Amebix included drummer Andy "Billy Jug" Hoare from 1978 to 1981, who contributed to early rehearsals and performances before departing amid the band's initial instability. Clive joined in 1979, providing support during the transition from the band's formative "Band with No Name" phase, but left shortly thereafter due to logistical difficulties common in the punk scene. Martin Baker briefly handled drums in 1981, enabling practice sessions at his family's property, though his tenure was short-lived owing to scheduling conflicts. (Neil Worthington) joined as drummer around 1981–1985 after leaving Disorder, stabilizing the rhythm section for key releases like the 1983 "Who's the Enemy" EP and contributing to the band's sound during its squat period; he exited due to practical touring and commitment issues rather than internal disputes. Spider (Robert Richards) drummed from 1985 to 1987, appearing on the album Arise! and supporting the squat-era ethos with raw, heavy percussion that influenced later crust recordings, before logistical strains led to his departure as the band wound down. Keyboardists included Norman Butler (1981–1984), who added atmospheric elements to early tracks, and George Fletcher (1984–1987), whose synthesizers featured on Monolith, both leaving as the band shifted focus amid punk scene relocations. Jenghiz provided brief keyboard support in 1984, with minimal recorded contributions tied to transitional sessions. These changes reflected pragmatic adaptations to regional squat living and DIY touring, without reported acrimony.

Timeline

YearLineup Changes
1978Band formed with Rob "The Baron" Miller (vocals), Chris "Stig" Miller (guitar), Clive Barnes (bass), and Andy "Billy Jug" Hoare (drums).
1979Rob Miller assumes bass duties in addition to vocals; Ric Gadsby briefly plays bass.
1981Andy Hoare departs on drums; Martin Baker joins briefly on drums; Norman Butler joins on keyboards.
1982Denis "Virus" Mescall joins on drums from Disorder; Les Evans joins on guitar; Duncan "D.H." Harris joins on bass.
1985Arise! album recorded with Rob Miller (vocals/bass), Stig Miller (guitar), Les Evans (guitar), and Virus (drums).
1987Paul "Spider" Kenning briefly plays drums; band disbands.
2008Reunion with Rob Miller (vocals/bass), Stig Miller (guitar), and Roy Mayorga (drums).
2011Sonic Mass album recorded with reunion lineup.
2012Band disbands.

Discography

Studio albums

Amebix's debut studio album, No Sanctuary, was released in November 1983 by Spiderleg Records as a 12-inch vinyl record featuring seven tracks, including "Battery Humans", "Control", and "Sanctuary". The release was later reissued in expanded form as the 2008 compilation No Sanctuary: The Spiderleg Recordings by , which added tracks from contemporaneous EPs for CD and digital formats. The band's second studio album, Arise!, appeared on September 14, 1985, through as a vinyl LP with nine tracks, such as "The Moor", "Winter in My Heart", and the title track, totaling 38 minutes and 20 seconds in length. A remastered edition followed in 2014 on Amebix Records, shifting to vinyl LP while preserving the original tracklist. Monolith, the third studio album, was issued in 1987 by Heavy Metal Records as a 12-inch vinyl LP containing nine tracks, including the instrumental opener "Monolith", "Nobody's Driving", and "The Power of the Sun", with a total runtime of approximately 44 minutes. A reissue emerged in 2007 through the same label, introducing the format to the original album content. Following the band's 2008 reunion, Sonic Mass was released on September 23, 2011, jointly by and Amebix Records in formats including , gatefold double vinyl LP, and digital , featuring eight tracks such as "Days", "", "Visitation", and the two-part title track, spanning 43 minutes and 30 seconds.

Extended plays and singles

Amebix released their debut EP, Who's the Enemy, on August 28, 1982, through the DIY punk label Spiderleg Records as a 7-inch vinyl pressing. The four-track release featured raw tracks including "Carnage," "Belief," "Curfew," and "No Gods, No Masters," recorded in a lo-fi style reflective of the early 1980s anarcho-punk scene, with limited production emphasizing grassroots distribution via tape trading and small venue sales. The band's follow-up single, "Winter," appeared in early 1983 on Spiderleg Records as another 7-inch vinyl, backed with "Beginning of the End." Released amid the band's evolving sound incorporating elements, the A-side "Winter" showcased brooding, atmospheric riffs that foreshadowed their later full-length work, while the B-side delivered a faster, more aggressive crust tempo; both sides were pressed in small quantities typical of independent punk labels at the time, contributing to its rarity in collector circles. These early extended plays and singles were distributed primarily through DIY networks, including mail-order and splits with like-minded bands, underscoring Amebix's commitment to anti-commercial punk ethos over mainstream accessibility. No additional singles or EPs were issued during the band's original 1978–1987 tenure beyond these, with later reunion-era releases like "Knights of the Black Sun" (2011) falling outside the core period.

Other releases

Amebix's early demos, recorded between 1978 and 1980, capture the band's embryonic punk sound prior to their evolution; these include the six-track 1979 demo featuring raw tracks like "University Challenged," later compiled on releases such as the Demo 1979 / Right to Rise Demo + Live LP by Abraxas Records, which also incorporates live tracks from a 1987 Birmingham performance. Another compilation, The Complete Demos 1978-1986, issued as a CD by Arson Records around 2000, aggregates unreleased demo material spanning the band's formative period without overlap from official albums. Live recordings primarily stem from bootlegs later formalized through official reissues. Make Some Fucking Noise!, a CD released by Arson Records in 2003, reissues a 1986 bootleg from , , containing eight tracks including selections from Arise and such as "Largactyl" and "I.C.B.M.," with by vocalist/ Rob "The Baron" Miller. A remastered edition, titled Slovenia 1986, followed in 2018 via Records, improving audio quality from the original bootleg cassette and prior limited CD press from 1997. Posthumous compilations of rarities include No Sanctuary: The Spiderleg Recordings (2008, ), which collects early 1980s material from the band's self-released Spiderleg era, encompassing demo tracks and the No Sanctuary 12-inch without duplicating later studio output. The Power Remains (1993, Skuld Releases), an LP compiling select early cuts, preserves the band's roots amid their 1987 disbandment.

References

  1. https://www.scenepointblank.com/features/interviews/amebix/
  2. https://www.metal-archives.com/bands/Amebix/13111
  3. https://www.thrashermagazine.com/articles/music-interviews/amebix/
  4. https://diyconspiracy.net/amebix-interview-1988/
  5. https://www.punknews.org/article/40074/interviews-rob-miller-amebix
  6. https://racketmag.com/interviews/amebix-interview/
  7. https://excusetheblood.wordpress.com/2020/05/24/interview-rob-the-baron-miller-tau-cross-amebix/
  8. https://www.discogs.com/release/385884-Amebix-Whos-The-Enemy
  9. https://rateyourmusic.com/release/ep/amebix/whos-the-enemy/
  10. https://www.maximumrocknroll.com/review/issues/mrr-2/
  11. https://www.discogs.com/release/368502-Amebix-No-Sanctuary
  12. https://www.metal-archives.com/albums/Amebix/No_Sanctuary/29085
  13. https://rateyourmusic.com/release/album/amebix/no-sanctuary/
  14. https://www.instagram.com/p/Co2asZkOaVh/?hl=en
  15. https://killyourpetpuppy.co.uk/news/amebix-spiderleg-records-1982/
  16. https://www.metal-archives.com/albums/Amebix/Arise%2521/29086
  17. https://rateyourmusic.com/release/album/amebix/arise/
  18. https://www.discogs.com/release/368503-Amebix-Arise
  19. https://www.facebook.com/mutiladorfanzine/posts/amebixariseseptember-14th-1985recorded-in-june-1985-at-sam-studio-on-16-tracks-b/1193116726172982/
  20. https://ninecircles.co/2016/01/14/throwback-thursday-amebix-arise/
  21. https://www.metal-archives.com/albums/Amebix/Monolith/29087
  22. https://www.discogs.com/release/604350-Amebix-Monolith
  23. https://rateyourmusic.com/release/album/amebix/monolith/
  24. https://music.fandom.com/wiki/Amebix
  25. https://www.invisibleoranges.com/interview-amebix-rob-miller/
  26. https://www.concertarchives.org/bands/amebix
  27. https://www.punknews.org/article/49860/amebix-1978-1988-2008-2012
  28. https://amebix1.bandcamp.com/album/sonic-mass
  29. https://www.discogs.com/master/373095-Amebix-Sonic-Mass
  30. http://scatalogik.com/amebix-sonic-mass/
  31. https://www.decibelmagazine.com/2017/03/06/justify-your-shitty-taste-amebix-sonic-mass/
  32. https://exclaim.ca/music/article/amebix_call_it_quits_again
  33. https://www.scenepointblank.com/news/splits/2012/12/06/amebix-breaks-up/
  34. https://www.deathmetal.org/interview/interview-amebix/
  35. https://hessianfirm.com/amebix-and-the-birth-of-extreme-metal/
  36. https://www.scenepointblank.com/reviews/amebix/monolith-reissue/
  37. https://www.metalreviews.com/reviews/album/9804
  38. https://www.invisibleoranges.com/amebix-sonic-mass/
  39. http://www.darklyrics.com/lyrics/amebix/whostheenemy.html
  40. https://genius.com/Amebix-progress-lyrics
  41. https://beautifulmonsters.substack.com/p/no-gods-no-masters-after-the-nuclear
  42. https://profanexistence.com/tag/amebix/
  43. http://www.pusfan.com/amebix3.htm
  44. https://www.anus.com/metal/amebix
  45. https://www.maximumrocknroll.com/review/issues/mrr-484/
  46. https://www.invisibleoranges.com/interview-amebix/
  47. https://diyconspiracy.net/stig-miller-interview-2021/
  48. https://echoesanddust.com/2020/06/stig-miller-from-amebix/
  49. https://www.punknews.org/review/7153/amebix-monolith-reissue
  50. https://shutter16mag2011.wordpress.com/2014/08/16/interview-amebix/
  51. https://thequietus.com/news/relapse-tau-cross-dropped-liner-notes-holocaust-denier/
  52. https://www.brooklynvegan.com/relapse-on-dropping-tau-cross-bands-liner-notes-prominently-thanked-holocaust-denier-gerard-menuhin/
  53. https://www.brooklynvegan.com/tau-cross-rob-miller-doubles-down-defends-his-support-of-holocaust-denier-gerard-menuhin/
  54. https://blabbermouth.net/news/relapse-records-explains-decision-to-parts-ways-with-tau-cross
  55. https://sonicabuse.com/rob-miller-tau-cross-speaks-to-sonicabuse/
  56. https://www.punknews.org/article/70224/tau-cross-members-issue-statement-following-album-cancellation-and-menuhin-issue
  57. https://www.brooklynvegan.com/stig-miller-says-amebix-were-not-secretly-nazis-surprised-about-tau-cross/
  58. https://www.bleacheverything.com/blog/2019/7/18/wolves-in-sheeps-clothing-rob-miller-cryptofascism-and-the-lure-of-the-conspiracy-theory
  59. http://diymusic.wikidot.com/amebix
  60. https://rateyourmusic.com/artist/amebix
  61. https://www.spirit-of-metal.com/en/band/Amebix
  62. https://www.bnrmetal.com/v5/band/band/Ameb
  63. https://www.theaudiodb.com/artist/117398-Amebix
  64. https://amebix1.bandcamp.com/album/no-sanctuary
  65. https://musicbrainz.org/release-group/a7f4d243-2eac-33c8-a18e-8703271541bb
  66. https://www.amoeba.com/arise-remastered-lp-amebix/albums/3400811/
  67. https://www.metal-archives.com/albums/Amebix/Monolith/1030732
  68. https://www.discogs.com/release/385886-Amebix-Winter
  69. https://rateyourmusic.com/release/single/amebix/winter-beginning-of-the-end.p/
  70. https://www.maximumrocknroll.com/band/amebix/
  71. https://www.discogs.com/release/26831858-Amebix-Demo-1979-Right-To-Rise-Demo-Live
  72. https://unleashabraxas.com/products/amebix-demo-1979-right-to-rise-demo-live-lp
  73. https://www.youtube.com/watch?v=TJp7-vogUlk
  74. https://www.aversionline.com/view/amebix-make-some-fucking-noise-cd
  75. https://www.punknews.org/article/68424/amebix-release-live-album
  76. https://disorderareyouexperienced.blogspot.com/2019/08/amebix-no-sanctuary-spiderleg-recordings.html
Add your contribution
Related Hubs
User Avatar
No comments yet.