The story of Laibach is infinitely more interesting than their music, which is not to say that their severe Wagnerian pop doesn’t have its moments and this compilation manages to capture some of them.
Formed in 1980 in then Yugoslavia Laibach's evolution had as its backdrop one of the most significant political and cultural revolutions in late 20th Century European history. And if that all sounds rather intellectual and retrospective well tough because it’s nigh on impossible to discuss the group without reference to their ideology and historical context.
As Yugoslavia fell apart and the dichotomy emerged of old communist values versus Western liberation, Laibach forged an ambiguous musical path that embraced the freedoms and promises of a new order but recognised the inherent limitations and contradictions that came with it. Their music became an expression of the inconsistencies that they identified with the changing political landscape and their attempts to relate it to the unfolding drama of their homeland around them. For example in 1988 they recorded The Beatles’ ‘Let It Be’ album (minus the title track); they believed the album to the worst release by the mop tops and intended the singular vision of their version to draw parallels with the disintegration of the former Yugoslavia.
The track 'Get Back' appears on 'Anthems'. The music itself sounds like something generated at a pissed-up German bierkeller; another deliberate ploy of Laibach is to sing many of their songs in German, often with a strident marching beat underlying the industrial/synth dominant music but also projecting an ambivalent relationship with Nazism and its associated imagery. The band have conntinually incorporated iconic imagery from the far left and right as part of their statement of intent.
By 1990, Slovenia had gained independence. In the early 90’s as war raged throughout former Yusgoslavia and the Bosnian conflict grew in its intensity, Laibach courted more controversy with their ‘NATO’ album - and subsequent ‘Occupied Europe NATO Tour’. They fervently expressed an Anti-War sentiment with humorous covers of Status Quo’s ‘In The Army Now’, Edwin Starr’s ‘War’ and, best of all, Europe’s cod-rock ‘The Final Countdown’ – all of which appear in some manifestation on this two CD album.
|
The band have consistently been unafraid to position themselves in the danger zone artistically, geographically and physically, using their trademark musical "bullying" tactics to confront and heighten people’s awareness of the politcial issues they seek to address.
Without context it’s easy to dismiss Laibach’s style as mere Goon-like parody over an industrial sonic backdrop. The music is often simplistic with Laibach reducing songs to basic repetitive arrangements which does become taxing after a while. You feel you are being beaten into submission to accept their manifesto. Often the relief to the listener is only provided by adopting the political and historical perspective in which the songs have been presented; on that basis Laibach are unquestionably a success.
The first CD contains original versions of tracks selected from their various releases down the years. The second CD consists of remixes and is the easier of the two to digest in one sitting as the sledgehammer onslaught of their productions are given some finesse by the various remixers.
Laibach have earned a place in musical history but the merit of its placement will be judged more by their ability to have used art as a political tool rather than for the songs they created and covered. Ultimately their music asks many more questions of the listener than could ever be found in the music itself.
|
