Denominator - 1776 by Pete Roper

When the increasingly fragmented reformation of Retaliator came to a sudden halt, Ian and I knew we weren’t quite done with music just yet. I had a stash of songs already written, and we both felt there was still an album in us. So, long story short, we reached out to Ciaran - whose studio we’d used to record our Christmas track for Askania - to see if he fancied joining us on guitar. His initial response? A firm “NO!” He was far too busy to be in yet another band, but with a bit of persuasion, he came around. We did iterate that there would be no rush, it would take as long as it takes, giving him the freedom and space to work on all his other stuff. Then, with my old workmate Frenchy on drums, the new lineup was complete, so we began work on the album.

We continued using Ciaran’s recording setup and skills, in fact it would be the only practical way we could do this. But first off, I’d lay down a demo in my tiny home-studio, and Ciaran would then elevate it - making it sound a million times better, before we’d eventually head into his studio to record the final version. The process worked quite well, but coordinating everyone’s schedules was a nightmare. Still, we persisted… for over two years. Most of the songs were eventually recorded, but with plenty still left to do, I felt we’d hit a wall. Things were really starting to drag out. Ciaran was proving harder and harder to pin down. So I took the bull by the horns and took over the mixing duties in my own home-studio to ease Ciaran’s work-load, which finally sped things up. This also gave me the unexpected bonus of having the time and ability to get a bit creative on these tracks. I found I was hearing things that would improve the songs and make them more interesting by recording vocal layers on my recording setup, and more often than not, when I sent what I’d done to Ian; he liked it. So I let my creative side run riot.

We initially called ourselves ‘Knuckledown’ - Ciaran’s idea, and a decent enough name. But as the album began to take shape, it became clear that the Oi!-style name didn’t quite fit our sound. The album we were recording was punk infused with metal, so we rebranded as Denominator.

The name felt like a natural progression to us - from Retaliator - similar in sound, a darkness to it, as does the music, but also with deeper meaning. I stumbled across it when I discovered that In a fraction, the denominator is the bottom number, beneath the slash and a number above it. And I liked the word instantly, I thought it fitted with the feel of the music. So then I set about figuring out how it could relate to the band. I came up with this; Ian and I had been half of Retaliator, and the denominator of a half is the number two. That two is the two of us. But beyond the maths, the common denominator of this album is; truth. This album is a truth-seeking album.

We eventually titled the album 1776 - not as a direct reference to America’s war of independence against the British, but to the founding of the Illuminati in old Bavaria that same year. The two events are, of course, deeply intertwined.

Lyrically, 1776 aims to contribute to the great awakening of humanity - to help expose the psychopathic elites who control the world. The songs ask hard questions and explore the theological, moral, and spiritual state of our times. I’m happy to say it outright: these are the best lyrics I’ve ever written. And Ciaran pushed me to deliver my best bass playing yet, setting a high bar of musicality. His guitar lines came back at me like a challenge, almost like; ‘go on Roper, let’s see what you can do with that!’ His excellence on guitar gave me no option but to dig as deep as I could in my limited skills toolbox and wrestle out the best bass lines I could muster. It was hard work for me, but I do like a challenge, and in the end I am really happy with my contribution to the music of this album, on the bass guitar work. Every single bass line is busy as fuck and as interesting as I could manage.  

1776 is without a doubt the finest collection of music I’ve ever been part of. That’s not a slight against Retaliator - the band that changed my life - but a simple truth. The songs are more technical, better constructed, and the musicianship is on another level.

It was Ian who suggested we incorporate Sue’s – my wife - voice into the mix, not me. No nepotism going on here. She simply has a great singing voice, so why not implement that talent into our sound? 

With Sue’s vocals adding a touch of feminine contrast to the heavy, gruff sound, there’s now a new dimension to the music - something fresh, at least for us.

So let me now talk about the songs of the album. If you’re the type of person who likes to know the story of a song, the mechanics, read on.

Unspeakable opens the album -and for me, it’s the most important track. It tackles a subject so horrific, so soul-wrenching, that even approaching it creatively was harrowing: the ritualistic abuse and horrific murder of children by satanic, psychopathic elites is not an easy thing to write about. But these monsters walk among us, cloaked in their wealth and their power and secret societies. And they go about their sick and sordid lives like untouchable demons and they need exposing. The only way we can expose this cancer is by shining a light on them and once enough people wake up, their days will be numbered and they will receive the justice mankind deserves.    

Writing about this really wasn’t easy though, but the message was too vital to suppress. I couldn’t bottle it up or shy away from the truth. So I just had to keep bouncing ideas around my head until I came up with one palatable enough to run with.

Two years after we recorded Unspeakable, Sue and I went to see The Sound of Freedom. The film echoed the themes of the song, and it hit me like a tidal wave. As we left the cinema, I broke down and sobbed uncontrollably. It all caught up with me - the weight of the subject, the pain behind the lyrics, the reality of what’s happening in this sick world of ours.

I pray that people research the hinted abomination behind Unspeakable, but not through mainstream channels of course. All you’ll ever find there are lies and distortions. These monsters own and control the media.

The scale of child abduction and disappearance is absolutely industrial. This is a billion-dollar trade, and it must be obliterated. Those behind it deserve nothing less than complete destruction - by the full force of good, with every ounce of our righteous fury. We should not have to share this world with these fucking worthless demons. They live among us. They watch the children. Your children.

The song itself is written in a veiled, suggestive way - because the details are too horrific to confront head-on. It was the only way my mind could process it. In the third verse, I reference adrenochrome - a substance produced by the adrenal glands of children when they experience unimaginable terror and pain. It’s said to be harvested and consumed by elites in Hollywood and the music industry, believed by them to be an elixir of youth. Microsoft Word doesn’t even recognize the term, and Google dismisses it as conspiracy. But open a biology textbook that covers the human glandular system, and you’ll find it. The deep state doesn’t want you to know.

The first two choruses of the song focus on a room. Just a simple room - brick and plaster walls, painted skirting, white coving, a wooden floor, a window or two. Ordinary. But this room is haunted. Saturated with the terror of doomed children in the final hours of their short, stolen lives. I believe houses become infused with the resonance of the lives of the people that have spent time in them. Particularly rooms where something bad or traumatic has occurred, they often seem to soak up the atmosphere of that dark happening and retain an imprint of it, almost soaked into the plaster. So I decided to write about such a room. A holding room. It was easier on my mind that way. 

The finished version of Unspeakable initially sounded too clinical to my ears - too polished for a song so dark. So I added some slightly unsettling vocal layers to inject a sense of unease, a sonic discomfort that would later become a recurring theme throughout the whole album. Here’s a summary of the lyrics…

If these walls could speak; they wouldn’t, tell it all to you? They couldn’t! Absorbing all the horror within; they wouldn’t know where to begin. They’d rather dwell in the silence; forget about all of this violence. Dream about something nice, if they could, they wouldn’t think twice, no! No! If these walls could die; they would; these bricks have never seen good. They cling to the tears of their guests, the screams of their final requests. They’d fall to ruin if they could; incinerate the ground, on which they’re stood, Lay among the worms and lice, nice! Solidity they’d sacrifice! Yeah! UNSPEAKABLE! Don’t tell me how they suffer! UNSPEAKABLE! Don’t tell me where they lie! UNSPEAKABLE! They cling to one and other! UNSPEAKABLE! Don’t tell me how they die! Suffer little child of this Earth; beasts are aware of your worth! The flesh and the blood and the bone, Purity, adrenochrome! Vampires gorging on your blood! The truth is becoming a flood; humanity will soon be awake! Vengeance ours to take! Come on! Swimming in rivers of blood; this evil’s becoming a flood! Humanity had better wake; the kids must never be forsaken! No!

Asbo’s guitar work on this track is exceptional - it channels the soul of the song with precision and feeling. There’s a strangely upbeat quality to the music, underpinned by ominous tones. Sue and I added a melodic vocal line to contrast the bellowed title in the chorus, lifting it just enough—because even a song about something this evil, this dark, is still a song. It still needs to draw the listener in with musicality that resonates.

 

Coke & Fries, the second track, is pure frustrated rage - aimed at the sheep-like masses that blindly follow the state’s orders no matter how ridiculous they are. People too lazy to ask questions, too dulled to realize they’re being lied to by the government, the media, the police, educators. These are the ones who never stand up for anything, other than maybe the pizza delivery man at the door - because they’re fed, entertained, and programmed by the idiot box and the propaganda machine. They’re conditioned to mock and sneer at those who actually do the deep research, the critical thinkers who dare to stand up and speak out. These people do the bidding of the deep state by dismissing truth as “conspiracy” - a term deliberately engineered to silence dissent. 1984 wasn’t just fiction. It was a fucking warning.

This song is dedicated to truth-seekers everywhere - to the awake, the aware, the ones playing their part in humanity’s last chance at salvation. It touches on the climate crisis fraud, the COVID psyop, and the matrix-like system that keeps us enslaved in our tough little unforgiving lives. This isn’t about left or right - it’s about the only battle that truly matters: good versus evil.

Coke & Fries is a furious indictment of good people who, through compliance, unwittingly aid the dark agenda being rolled out onto humanity across the western world. I don’t hate them, not really - I just want them to wake the fuck up. We are all sovereign beings, full of promise, full of hope and love, yet so many settle for grubby, toxic, meaningless lives - numbing themselves from the horror of what this world has become with drugs and poisonous music, absorbing the world’s filth like dirty little sponges. Their hearts are basically good, but they’re engulfed by the evil of this world. They are damned. Beyond redemption. They will not become awake. The will play no part in the great awakening of mankind. They will be of no use to us in the battle ahead. But the fight must go on without them.

Musically, this track is straight-up punk rock - raw, angry, and direct. But Asbo, as always, adds depth. He crafted a heavy-metal inspired middle-eight section that veers off into unexpected territory, giving me space to experiment with sounds - something I’d wanted to explore from the outset. The song ends with a single gunshot. Interpret that how you will. Is it the final bullet in the proverbial head of freedom? The shot that killed Charlie Kirk? The spark that ignites rebellion and civil war? Or the last nail in the coffin of humanity?

You decide. Here’s a summary of the lyrics…

The way we feel aint no way to be; driven by fear and animosity! You think I’m strong? Take a look at me; I’m begging for salvation crawling on my knees! Now you’re telling me (Now you’re telling me) that the planet’s dying? I think you might be lying, yeah, and I think you’re getting paid! Are you ready for war? There’s a war to wage! Our brains are wired from an early age; they feed us shit ‘til we fucking rage! They pay two beans as a living wage; you can’t be free when you’re living in a cage! Now you’re telling me (Now you’re telling me) That the planet’s dying, I think you might be lying, yeah, and I think you’re getting paid! Are you ready for war? There’s a war to wage! No more need to socialise; subliminal programs televised! Safe and sound in your bed of lies; you sold your fucking soul for a coke and fries! Coke and fries! Coke and fries! Coke and fries! Coke and fries! Coke and fries! Coke and fries! Coke and fries! Coke and fries! Now you’re telling me (Now you’re telling me) That the planet’s dying, I think you might be lying, yeah, and I think you’re getting paid! Are you ready for war? There’s a war to wage!

 

Dance Macabre is more than just a nasty little horror story; it’s a meditation on morality, faith, and the fragility of the human spirit. It reminds us that no one is truly incorruptible. Evil is cunning, relentless, and far more powerful than most dare to admit. I believe this world has always been a battleground of the longest war in the history of mankind and it still rages today: good versus evil. And we’re all soldiers in it, but not all of us are fighting for the right side.

The song tells the tale of a pious man of the cloth, tormented nightly by demonic visitations. They rob him of sleep, gnaw at his sanity, and whisper dark temptations. He comes to believe - whether rightly or wrongly - that these demons demand blood. The death of innocents. If he feeds them, they’ll leave him be. So he kills. And when they return, he kills again. Over time, he becomes a cold, calculating serial killer. Is he insane? Or is this truly a case of demonic  corruption? You decide. Either way, he’s damned. He’s fucked!

Musically, Dance Macabre is a straight-up rock track with a punk edge. The middle-eight features demonic voices and a touch of slap bass - something the section seemed to cry out for, adding a twisted groove to the madness. The first time I’ve ever used slap bass in any bass line ever!

Here’s a summary of the lyrics…

Night after night is taking its toll, they terrorise me as they feed on my soul! Sanity sickens, as they frolic and dance, salvation is such a game of chance! Living in a nightmare, living in a nightmare, this dance macabre will be the death o‘me! (Death o’me!) Living in a nightmare, living in a nightmare, I kill for them, to kill anxiety! I fought the good fight as a man of the cloth, drawn to the flame as a reckless moth. Refined was I this soul defiled, dragged from the path like a sinless child. This church so cold and granite hard, I fell to my knees so battle-scarred! I pray my Lord remember me, as I burn in Hell for eternity! Living in a nightmare, living in a nightmare, this dance macabre will be the death o‘me! (Death o’me!) Living in a nightmare, living in a nightmare, kill for them, to kill anxiety! Night after night, domination grows, the weaker my mind, a hunting I’ll go! I pay them in kind; to leave me alone, beneath this floor, lie many a bone! Night after night, I pray for an end; the benevolent bullet that He never sends. Damnation in yet another waltz, salvation upon a cold pale horse! 

 

Meat Grinder Serenade is a snapshot of where humanity stands in 2025 - a brutal, unflinching analysis of our collective condition. The song speaks for itself, mostly through singular words spat like bullets. It’s a warning to the state: listen to the fucking people for once. We’re on our knees and a population is at its most dangerous when it’s got nothing left to lose - especially the British.

I believe we’re on the brink of the most ferocious, revenge-fuelled uprising in all British history. It’s simmering. Bubbling under. You can feel it. You can taste it. Like a tinderbox waiting for a spark.

The “beast” mentioned in the song isn’t the devil ; it’s the beast system described in the Bible. A satanic construct. A new Babylon. I believe the ‘end-times’ spoken of in Revelation aren’t coming, they’re already here. We’re living them. Our days are numbered and what lies ahead isn’t for the faint of heart. Good always wins in the end, but sometimes it has to crawl through the pit of Hell on its hands and knees to reach the other side, and victory. And not everyone makes it through.

Musically, this track is a monster -metal-based, heavy as fuck, but still catchy and hook-laden. My brother reckons it’s the best song I’ve ever written. I take the lead vocals, while Ian drives the chorus with power and grit. This was one of those songs that initially showed a lot of promise, but when push came to shove, it fought tooth and nail not to develop. It took a lot of playing around with, a lot of work, but I think the ends justified the means.

Here’s a summary of the lyrics…

Authority! Police-State brutality! Austerity! Humanity losing all morality! Criminality, mass criminality! Clown world is coming for you; On a mission to destroy the life you choose! There’s something in the air, they better beware. There’s anger in our eyes, we’re sick of all their lies, there’s something in the air, there’s chaos everywhere, the meat grinder’s gonna churn! There’s something in the air, they better beware, there’s anger in our eyes, we’re sick of all their lies, there’s something in the air, there’s chaos everywhere, the beast is gonna burn! Conformity! Incompatibility, normality! Adversity! Hostility, now you’re a casualty! No herd immunity! No immunity! Clown world is coming for you, in their all-black chic and their running shoes! Nationality! Individuality! Nobility! Atrocities gaining ferocity! We gotta be free, we must be free! Clown world is coming for you; to erase your voice and everything you do! Clown world is coming for you; so you better fight back before the masses are the few!

 

On Senlac Hill is one of the older songs in the collection. Originally written and recorded for Balefire - my recording project with Barry from Infa Riot - it first appeared on the On the Road to Redemption album. But I always felt that version wasn’t the final word. There was talk of it becoming a Retaliator track, but that never materialised. So when Denominator came to life, I pulled the song off the shelf and gave it new breath.

It’s a ghost story, loosely inspired by Nick Austen - former owner of Beggars Banquet Records - who moved from London to Crowhurst in East Sussex. There, he uncovered a local legend claiming that the Battle of Hastings was actually fought in Crowhurst. He became obsessed, spending over forty years searching for the lost Anglo-Saxon warriors. They’ve never been found. But maybe… they’re waiting.

This is one of my favourite songs on the album – quite possibly one of the best I’ve ever written. Musically, it’s powerful and punchy, yet melodic and layered. It begins as a melancholy ballad, but the whinny of a warhorse soon launches it into an up-tempo anthem. A fusion of rock, metal, and punk, with a chorus that has a real hook to it.

Sue plays the role of a mischievous supernatural entity sent to guide our haunted protagonist - but she does so through mocking riddles. Her performance is spellbinding, adding a touch of mystic charm that contrasts beautifully with Ian’s gruff, commanding vocal. Asbo’s guitar work, as always, is superb - anchoring the track in raw power and emotion.

Here’s a summary of the lyrics…

Every year, he wanders the hill; where the men lie still. You can see him in the fading light, fall to his knees as the fyrd takes flight. All around in the terrible mud, there’s a lake of blood. Now we’re lost and the king lies dead, the Devil runs free and the gods have fled! Now we’re looking back on a thousand years and the names live on in the pubs and beers and ghosts they walk through the streets of Hastings and on Senlac Hill! Listen to me speak; the men are here you seek! You dream of this place, the dead you embrace, you pray for a sign; seek guidance divine. Every year, I’m driven to the hill; where they won’t lie still. In the night, they show me how they died, they won’t go away, they won’t be denied. In the dawn, I shiver in the grass, but the night has passed. In my eye, there’s a terrible pain, but it fades like vision of a doomed campaign. Now we’re looking back on a thousand years and the names live on in the pubs and beers and ghosts they walk through the streets of Hastings and on Senlac Hill! Every year, I wander on the hill; where the men lie still. You’ll see me in the fading light, fall to my knees as the fyrd takes flight. All around in the terrible mud, there’s a lake of blood. Now we’re lost and the king lies dead, the Devil runs free and the gods have fled. Now we’re looking back on a thousand years and the names live on in the pubs and beers and ghosts they walk through the streets of Hastings and on Senlac Hill! Now we’re looking back on a thousand years and the names live on in the pubs and beers and ghosts they walk through the streets of Hastings and on Senlac Hill On Senlac Hill!

 

Fall from Grace is a fable told from beyond the grave. It’s the voice of a buried soldier reaching out to the living, confessing that he and his comrades believed they were fighting for a noble cause. But in death, they learned the truth: they were pawns in a darker game. Anchored. Doomed. Damned.

The song exposes the sinister workings of high-ranking illuminati Freemasons - the so-called “hidden hand” and turns the question back to the listener: What have you done for the cause of good in this eternal battle against evil?

Knowing that every war since the Napoleonic era has been orchestrated and financed on both sides by the Rothschilds, the song raises a chilling theological dilemma: What becomes of the souls of brave men who fought, killed, and died in these wars? Were they damned by misguided complicity? Even if they believed they were doing good; they still served the agenda of evil.

Musically, Fall from Grace is fast, punky, and relentless. Ian delivers the pre-verses with his signature intensity, I take the verses, and together we roar through the chorus. The drums, bass, and guitars drive the track with unyielding force and it never comes up for air.

We all respect and revere our brave veterans, from all the wars Britain has been involved in, but what if all wars were a deliberate construct with nothing else but eugenics at its core? What if world war one was constructed to rip the heart out of the European fighting men and to lay the foundation of the Second World War, which also carried eugenics at its core but also the creation of Israel was always its aim? The creation of the beating heart homeland of the deep state! What happens to the poor souls who fought for either side in such an evil endeavour? They killed each other for the psychopaths at the pinnacle of the pyramid! The international bankers. The illuminate. The Deep state. The new world order. And what of the modern soldier? The men who know damn well they do not fight for freedom or righteousness. The men that know they do the bidding of the world elites.    

Here’s a summary of the lyrics…

This is your fall from grace! Take me from this torn and battered land. Lay me down to rest, in the company of the blessed. I’ll dream of battles won, a story just begun. Everything I gave for flowers on my grave. Stay with me for a while I beg ya, will you rest, will you read my name out loud? Don’t cry, or wonder why, why we fought, why we had to die in a place you’ve never seen, on a day, in a way there is no time to scream. For a cause never understood, on the side of evil, not good! Evil not good! Evil not good! The gods forgive our fall from grace touch wood! Evil not good! Not for good! Not for good! Beguiled misled, misunderstood! Take me from this torn and battered land, lay my soul to rest and though I failed this test; I’ll dream of the risen son and peace for everyone. I wish I could atone, for all the seed I’ve sown. They’re doing their work for Lucifer; harvesting the souls of all of ya. Will you listen and know the truth? Have you got the courage to see it through? You’ll have to fight in a place you’ve never seen; in a place so dark where the suffering scream. In a place you’re probably gonna die, where the living will, testify. Evil not good! Evil not good! The gods forgive our fall from grace touch wood! Evil not good! Not for good! Not for good! Beguiled misled, misunderstood! Take me from this torn and battered land; my flesh becomes the soil, my spirit now recoiled, I’ll dream that the prophecy's done; the golden web is spun! If only I could see all the nations free. The plan they forged was so very old; this covernous group to the devil were sold. Were you cruelly doomed to understand; to witness the work of the hidden hand? Did you fight for the weak and the terrified? Did you swim upriver and against the tide? Did you draw your sword from its scabbard proud? Did you scream your bold defiance aloud? Evil not good! Evil not good! The gods forgive our fall from grace touch wood! Evil not good! Not for good! Not for good! Beguiled misled, misunderstood!

 

Righteous Sentinel explores the dramatic fall of the Knights Templar. Betrayed by the King of France and a corrupt French Pope, it tells the story of Jacques de Molay, the last Grand Master, who was burned at the stake and, with his dying breath, cursed his persecutors. And guess what! That curse actually came true, in every detail. So the song poses the age-old question; were the Templars satanic, or innocent of the charges?

Today, the Templars are heavily associated with Freemasonry. But back then, were they righteous men of God? Were they true to the end? Or were they corrupted by power and wealth? Or perhaps they were never pure to begin with? Again, you choose.

Personally, I lean toward the idea that they were righteous, but I’m not naïve. The inventors of international banking were surely vulnerable to the seduction of wealth and the power it brings.

It’s also worth noting that curses, especially powerful, fulfilled ones, aren’t typically Christian tools. They belong more to the realm of paganism and Satanism. That alone raises questions.

Musically, this track stands apart. Metal-based, yes, but with a rocky edge. Ian delivers the verses with force, we share the pre-chorus, and I take the lead on the chorus, backed by the mob. The middle section is driven by a punchy, busy bass line, and the chorus lifts the song to its conclusion. It’s one of Ian’s favourites, and for good reason.

Here’s a summary of the lyrics…

A solemn restless crowd, gathering in silence, shackled tortured men; fearless and defiant. The warrior code, in their God they trust, but in their fellow man, their faith reduced to dust. Waiting for the flames; their flesh to be devoured, they curse the orchestrators of the Order’s final hours. Warriors or heretics? Enemies of the Catholics. How the mighty fall. Sancti viri dei! Righteous sentinel! Sancti viri dei! Righteous sentinel! Sancti viri dei! Righteous sentinel!  Sancti viri dei! Deus Vult! A defiant figure hangs, suffering in silence, the prophesy fulfilled; revenge for the bloody violence. Now the king is dead, the holy father too, their sons they will all die; their lives our revenue. Waiting for the flames, their flesh to be devoured, they curse the orchestrators of the order’s final hours. Warriors or heretics? Enemies of the Catholics. How the mighty fall. Sancti viri dei! Righteous sentinel! Sancti viri dei! Righteous sentinel! Sancti viri dei! Righteous sentinel!  Sancti viri dei! Deus Vult! Warriors or heretics? Enemies of the Catholics. How the mighty fall. Sancti viri dei! Righteous sentinel! Sancti viri dei! Righteous sentinel! Sancti viri dei! Righteous sentinel!  Sancti viri dei! Deus Vult!

 

Carpe Diem was originally written with Retaliator in mind, but like many things during the band’s final days, it never came to fruition. When Retaliator imploded, the song remained - waiting for its moment. Now, it’s found its place as a battle-cry on this album.

It’s a call to arms for the forces of good, especially in England. A rallying anthem against the rising tide of evil. Musically, it’s the most Oi!-inspired track on the record - up-tempo, bright, and undeniably catchy. I take the lead on the verses, while Ian powers through the pre-chorus and chorus with his trademark grit.

Back in Retaliator’s day, this song might’ve been labelled “right-wing.” In today’s clown world, it’ll likely be branded “far-right.” But let’s be clear: Carpe Diem is anti-deep state Marxism, anti–New World Order, and unapologetically pro-the good, tolerant people of England and Britain - regardless of colour or creed. It’s not about politics. It’s about the eternal struggle: good versus evil. Yes it carries the line ‘better dead than red’ and attacks the far left, but the far left are on the side of the globalist deep state, they are on the side of evil! Politics don’t really come into it anymore. The reds, i.e. the Socialists, the Marxists and the Communists, are not liberals or progressives, they are pro-totalitarian anti-human anti-freedom mentalists.  The song does not attack people of a liberal leaning, misguided though they might be, and it doesn’t attack the far left because we stand on the right, it attacks these groups of people because they are evil and proudly stand for evil. Their agendas are all evil. Marx and Engels were both well known Satanists. The far-left are Satanic! Politics doesn’t even come into it! Even many on the left are waking up to these facts. Many now realise that liberalism does not align with the modern day left.

Here’s a summary of the lyrics…

The winds of change are blowing; the tide is on the turn. The reds are out in protest, when will they ever learn? The people of this nation so tolerant and fair, but you sold them down the river, all traitors beware! Our flag it flies defiant in village and town, left wing subjugation keeps dragging it down! You demonise the public, who dare to disagree, impose your propaganda ‘til none of us are free! So ride the lightening just like the Valkyrie, don’t let the bastards grind you down! Never let ‘em win! Seize the future and Carpe Diem! Marching on to victory, we’ll win! Scholars they believe, the patriot is dead! The patriot is screaming; ‘better dead than red!’ The media will tell you, that we are not at war, so why do all those bodies lie scattered on the floor? Our flag it flies defiant in village and town, left wing subjugation keeps dragging it down, you demonise the public, who dare to disagree, impose your propaganda ‘til none of us are free! Ride the lightening just like the Valkyrie, don’t let the bastards grind you down! Never let ‘em win! Seize the future and Carpe Diem! Marching on to victory, we’ll win! I see the future clearly, our churches they all burn, the trials of the past were lessons never learned. So many tears are falling for a nation in decline, a people on its knees, a way of life enshrined! Our flag it flies defiant in village and town, left wing subjugation keeps dragging it down, you demonise the public, who dare to disagree, impose your propaganda ‘til none of us are free! Ride the lightening just like the Valkyrie, don’t let the bastards grind you down! Never let ‘em win! Seize the future and Carpe Diem! Marching on to victory, we’ll win!

  

Where the Valiant Dwell The ninth and last song on the album was written as a promise to Chris Butler who served on HMS Glasgow (D88) in the Falklands conflict of 1982. He wrote down - for me - his honest, warts and all account of his experience as a young man finding himself in action in the Falklands. I tracked down actual audio of HMS Glasgow in action in 82 which I then used a snippet of within the song, giving it added authenticity. I wrote it to be more of an anthem for the crew of the Glasgow than just a song about her exploits, but the song also details the actual action they were involved in.

The song does admittedly find itself at odds with the sentiments of Fall From Grace, but none the less, the men, the ordinary soldiers that went off to war, all war, risking life and limb for their Queen and country is a laudable undertaking. It shows a great deal of courage, self-sacrifice and discipline – something we should all be grateful for regardless of the politics or theological arguments involved. These men have earned their honour and deserve our respect.   

Musically a leviathan of a song. Asbo’s powerhouse guitars, accompanied by my bass and Frenchy’s drums, seem to conjure up a clear image - in my mind anyway - of this destroyer-class ship purposefully cutting a swathe through choppy seas on her way to make history and play her part in the Falklands conflict.  She went on to play a big part and was hit with a missile that cut straight through the boat without exploding. It seems someone or something was watching over her. She limped home with no casualties.  

I take lead vocal on this one, with Ian and the mob backing me in the really catchy chorus. Mark Magee – The Glory, Anti-Heroes – features on this track, sharing lead guitar with Asbo, and adding some really nice harmonic guitars to the heavy sound of the song. Here’s a summary of the lyrics…

We lucky few! We band of brothers! We lucky few, we band of brothers, life can be fleeting, so we nearly discovered! This shit was real and you could taste the fear, but we were there to do our duty, eighty-two what a year!

Sheffield took a hit, all we could do was watch. I’ll never be without that image without a bottle of scotch! D88 (We’re the Glasgow!) Band of brothers! We were young and bold. D88 (We’re the Glasgow!) Band of brothers!

Now we’re getting old. We lucky few, we band of brothers, life can be fleeting, so we nearly discovered! They came in quick, they came in low; they were gunning for Brilliant, Seawolf struck a blow! One of ‘em made it with a little gift for us! I heard the reaper laugh when, it cleared our funnel just! D88 (We’re the Glasgow!) Band of brothers! We were young and bold. D88 (We’re the Glasgow!) Band of brothers! And now we’re getting old. D88 (We’re the Glasgow!) Band of brothers! We were young and bold. D88 (We’re the Glasgow!) Band of brothers! And now we’re fucking old. They came in quick, they came in low, they were gunning for vengeance, now trust me coz I know,

I think I’ve seen heaven and maybe I’ve seen Hell, but miracles happen, where the valiant dwell! We lucky few! D88 (We’re the Glasgow!) Band of brothers! We were young and bold. D88 (We’re the Glasgow!) Band of brothers!

And now we’re getting old. D88 (We’re the Glasgow!) Band of brothers! We were young and bold. D88 (We’re the Glasgow!) Band of brothers! But now we’re fucking old!

 

The released of 1776 began on 27^th of July 2025, when the Anarchy in MK radio show played the first track; Unspeakable at around 4pm. Three hours later the track went live online on all platforms. This format was continued through the whole album until the final track was aired on 21^st of September the same year. 

 

The compact disc and vinyl record of the album is yet to follow, but follow they shall, sometime in 2026 - either on our own label or should any other label decide to make us a fair offer, then who knows? Watch this space!

Pete of Denominator