World Domination Enterprises never managed to live up to their ambitious name, but have been posthumously recognised as postpunk pioneers.

A musician who had several distinct music career, Keith Dobson never achieved the wider recognition he deserved.

The first phase, under the pseudonym Kif-Kif Le Batteur, was as drummer and founder member of hippie collective Here & Now, part of the mid-Seventies squat scene in West London and free festival movement.

The second was an industrial band called The 012 who made a solitary album entitled Let’s Get Professional – a priceless postpunk rarity that satirised the notion of making polished music – and the launch of his own label, Fuck Off Records.

The third, and perhaps most notable chapter of his career came as guitarist in uncompromising postpunk pioneers World Domination Enterprises, the trio who grew out of the ashes of The 012.

One of those cult bands about whom sheaves of droolingly enthusiastic prose were written in the music papers of the day (not all of them by David Stubbs), I suspect that far fewer people actually listened or went to see World Dom play.

A trio dedicated to dissonance and confrontation – a fry cry from the hippie ideals of his previous group – they were a band for whom the adjective “uncompromising” seemed to have been written even before you heard a note.

And when you did, you wouldn’t forget it in a hurry. After the blood and thunder of Digger Metters’s drums and the pulsating rumble of Steve Jameson’s bass, the notes you remembered (or, perhaps more accurately, would find hardest to forget) would be the abrasive metallic shards of Dobson’s guitar.

He attacked his instrument in a way that, to borrow Woody Guthrie’s message, would not only have killed fascists but eviscerated everything in its path as effectively as napalm on a Vietnamese village, putting him in the pantheon of postpunk guitarists alongside Keith Levene, Andy Gill and John McKay.

This was their signature song, Asbestos Lead Asbestos, an environmental anthem with a characteristically brutal and dissonant sound and savage delivery, originally written and played with The 012.

World Dom only made two albums but were a regular presence on the warehouse party and aid house scene of the late Eighties, often with the Mutoid Waste Company, but Dobson broke up the band after Digger dropped out to become a Jehovah’s Witness following a tour of the Soviet Union.

Their slender recorded repertoire – the 1988 album Let’s Play Domination and a rarities compilation called Love From Lead City – would sit nicely alongside fellow travellers like The Pop Group, PiL, 23 Skidoo and This Heat, whose Cold Storage Studios was where they recorded.

It begins with what sounds like a depth charge exploding at the start of A Message For Your People, includes a cover of LL Cool J’s I Can’t Live Without My Radio and several numbers influenced by dub reggae, like Jah Jah Call You. The single Hotsy Girl was a tribute not to a young woman but the band’s Morris Minor car, and Blu Money boasted the lyric: “I blew money that I could’ve bought drugs with.” The album ended with a blood-and-thunder cover of Lipps Inc’s song Funkytown.

Meanwhile this tune was covered a decade later by Meat Beat Manifesto on their 1996 album Subliminal Sandwich.