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WORLD CLASS PUNK tape
01. EATER - Kriget vancinne
02. What? - Cambell's Sign
03. The Zero Point - Working Class Zero
04. Hova-Lett Nagyfero Bikini - Come of It
05. Ratos de Porăo - Parasita
06. Solución Mortal - Ni un amigo
07. Herpes Distress - Mozak
08. Slips y Sperma - Caos final
09. Akutt Innleggelse - Klasse
10. Névrose - Detournement
11. Zyklome A - Scapegoats
12. Dezerter - Spytaj milicjanta
13. BGK - Gone Mad
14. Mottek - Eine neue nacht
15. CCM - HC Music
16. A64 - Moment
17. Exile in the Kingdom - Freedom
18. Purrkur Pillnikk - Surprise
19. Warriors of the Last Days - Under the Sun
20. Grisen Skriker - Dansa
21. Deja Voodoo - Jungle Out There
22. Copulation - Quicklime
23. Villa 21 - In the Darkened Night
24. The Pop Guns - Shock Time for Rock
25. K4 - Six Million
26. Sort Sol - Boy/Girl
27. Bastards - Liian monta turhaa sotaa
Cat #: A-131
(Liner notes, written by Mykel Board)
SHUT UP! I don't want to hear it!
"How could you have an international compilation cassette and not include the Mongolian band The Ocödöröglöös?"
or "Hey, those guys are nothing in Colombia, the best punk band here is...?"
or "You call yourself INTERNATIONAL and you have nothing from Pago Pago!!"
or "God, that band from Tibet sounds like it was recorded in a cereal box! How come they didn't use a 59 track JVC-TEACK-MX61 with UL 42 harmonizer and digital reverb?"
Did I do all this work to hear you whine? Listen, you hold in your hand the most comprehensive international punk compilation ever assembled. There were others: one from Germany has 16 countries and one from San Francisco has 17 countries. Both of these compilations are good. (Buy them AFTER you buy this one.) But none of them have as many bands from as many countries as this. Still, it is not complete. It couldn't be.
My travels have convinced me that there is no country in the world where there isn't some form of punk rock. All it takes to find it is to walk through the streets of any major city wearing a black leather jacket and a DK's button.
For this tape, I've picked bands that represent as many countries and as many punk styles as was practical. Some have bucks or backers to let them get into a real studio with a real recorder. Others are poorer than you'll ever be and have recorded on a piece of wax paper with a needle stuck between their teeth. That's the nature of PUNK and I'm glad it is.
There are no American bands on this tape because people already have heard the punk founders, THE RAMONES, and the U.S. hardcore heavies like the DK's and BLACK FLAG. This cassette will expose you to the rest of the world.
There are also no English bands here. England is where punk turned into fashion. It is where they invented Punk Superstars like THE CLASH. THE CLASH are as close to the idea of PUNK as David Bowie is to the idea of GARAGE ROCK. Besides, everybody knows what's in the U.S. and England. This tape shows it's EVERYWHERE!
Some of this music is the HARDCORE of punk. I put these cuts on the CORE side of this tape because to some people, this is the essence and most international aspect of this music. It is a standard that transcends nationality. Shave your head, play loud, fast and noisy, yell (especially if you yell about politics), and you instantly become part of an international community.
THE FRINGE of punk is just as important. These groups can't fit into any comfortable niches. They are punk because their music is new and generally unacceptable to the masses of LED ZEPPELIN, DONNA SUMMER and ABBA consumers in their local areas. Some of these bands, like Sweden's GRISEN SKRIKER were at the forefront of their countries' punk movement in the seventies and still have that 1977 punk sound. Others, like the Swiss band COPULATION are "post-punk" - dark and brooding. Still others like the South African POP GUNS sound almost like a folk-rock band, but the words are far from AOR Radio, especially in South Africa!
I tried to get as many bands as possible to sing in their native language. I think that groups that sing in their own language can more easily get at the roots of their own feelings. Some bands disagree. They think that English somehow makes things more international. They want to reach a larger audience. You judge for yourself.
Some of the bands on this tape I know personally. I travel a lot and always manage to find the trouble makers. Other bands I found with the help of publications like FLIPSIDE (Whose editor Al, probably more than anyone else, has chronicled the amazing growth of Punk), TRUELY NEEDY and MAXIMUM ROCK N ROLL. Still others read/heard about the compilation and sent me their tapes. I'm sorry I couldn't use everything that was sent to me. Some countries were over-represented and although there was much good stuff, I had to choose.
Special thanks to Al Flipside. Also to Jello Biafra, Ruth Schwartz, Rick from V-Effect and the crew at Maximum Rock N Roll. Jan Snuem from Denmark, all the bands who sent in tapes and all the people who will be mad at me for not mentioning their names.
This ROIR cassette was compiled excellently by Mykel Board. This comp has great bands that come from everywhere from Australia to Yugoslavia. There is some excellent stuff here and it's separated into a "Core" side and a "Fringe" side. This gives one of the best cross sections of truly international music I've seen. Purrkurr Pillnikk from Iceland totally blow me away. This is complete with notes and full addresses for all the bands. More, more!!
-Greg C. (from Task #1, March 1985)
Mykel Board compiled this for ROIR, and the outcome is by far the best and broadest international compilation yet. Not only does it have a wide variety of styles, it also has a wider variety of countries represented (27 in all), including the Eastern Bloc, South Africa, and South America, but excluding the US and UK. There are excellent hardcore and garage bands on side one, and on side two are some really great pop-punk and post-punk groups. A new wave band from Columbia is hard to get through, but I can't think of any other bands here that I don't like. Check this out.
-Ruth Schwartz (from Maximum Rocknroll #17, September 1984)