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O! KULT (O! CULT) was never a band that played to entertain the audience, but they force them to act and take a stand. Therefore their music can truly be called (engaging) punk. This is the one of the best examples of how music can enlighten people of the problems in society; therefore this is mandatory listen when it comes to ex-YU punk.More about O! KULT in the text on the cover, written by Igor Basin.

In addition, O! KULT own fanzine is also available.  It came out for the first with their only cassette that was released in 1983 - and now it's time again!

This release looks like all other NE!records LPs: gate-fold sleeve and printed inner (inc. lyrics in english and rare photos from their first gig).

800 copies of the LP (300 black/ 200 red/ 200 yellow/ 100 clear) and 500 come with a CD.


"O! KULT officially came together on the outskirts of Ljubljana, in Medvode, exactly two years after Tito’s death, on 4 May 1982 at 3:05pm. In the same week, they had their first gig in Kočevje. In a Radio Student broadcast, Igor Vidmar called them a new discovery of Ljubljana’s punk underground” which culminated in a concert at Novi rock ’82 (New Rock Festival). In January 1983, they played in “Dom Svobode” in Ljubljana Šentvid and recorded a live cassette “Class Struggle is the Only Motive of History”, which was later on in winter released by ŠKUC Gallery in 330 copies with a fanzine supplement.

They reached for the scissors and with the fierceness of Crass, Poison Girls, Dead Kennedys and Sham 69, cut and pasted article titles from daily newspapers and other Socialist people’s pamphlets to give them a new sharper political meaning and charge.

On the wings of leftist ideas, thoughts and demands, O! KULT were sternly and persistently breaking down the self-managing socialism  doctrine. No wonder they were observed,  surveilled,  controlled, censored. Though they were permitted to play the songs “Thanks to Thanks” and  “Comrades”(Whose?) at the then most important rock festival Novi rock ’82, the two songs were not included in the concert recording on the waves of the national Radio Ljubljana. These same songs were censored also in the second issue of ‘Punk Problemi’, published in the same time.

Igor Vidmar wrote for the Novo Mesto Valj: "it seems rather meaningful that the large part of most recent punk creativity – now already the third generation of punk bands – plunged into a critique of bureaucracy, statism and any kind of alienation of work and self-management, a critique that was fundamental and had risen from proletarian-libertarian ideals."            

Igor Bašin-BIGor

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