10 Notes On A Summer’s Day sees musical extrapolation – free-jazz sounds, gentle rolling drums, strummed acoustic guitar, drones, crooned vocals – mixed up with the occasional angry outbursts of Steve Ignorant. The polemic is present and correct but more adult, blended with irony, sarcasm and a sense of sadness. The fire that had inspired a million stencils in 1978, the one that said “we’re furious, this is all wrong, we can change it” had mellowed into an accommodation if not an acceptance. The band had realised the world wasn’t going to change but their work had made a change, nonetheless. There’s not much about the music here because Crass was never really about the music, it was about the ideas and the community. The two original pieces here are, of course, extended, often drifting across landscapes of random piano, synth sweeps over ten minutes a piece. The band clearly spent a good deal of time constructing it (as they had their long and frequently collaged singles). From a historical perspective it is an essential listen to understand where you can go from polemical punk and to understand the borderline between hippy and punk. As a swansong to Crass it is as wilful and eclectic as the rest of their output.