Keith Moliné, in his article on Current 93, makes the sweeping statement that “within a year [of Swastikas for Noddy], a whole host of copyists had sprung up, strumming on acoustic guitars and intoning doomily about runes”. This is presumably a dismissal of Death In June, since it is, in fact, hard to think of any other post-Industrial outfits who were adopting similar strategies at that time. Moliné’s grasp of history is dubious, since DIJ were active well before the release of Swastikas for Noddy. Even David Keenan, no admirer of DIJ, had the good grace to acknowledge in England’s Hidden Reverse that Douglas P was the first member of Tibet’s circle who could actually play an instrument and that he wrote most, if not all, of the music for C93’s most enduring album. Moliné’s article is deficient in failing to recognise the crucial role of Pearce in C93’s move towards a folk-based idiom.