Laibach (band)
| Laibach | |
|---|---|
 |
|
| General information | |
| Genre (s) | Pop , techno , EBM , post-industrial , post-punk , avant-garde |
| founding | 1980 |
| Website | www.laibach.org |
| Founding members | |
Synthesizer, percussion, bass |
Dejan Knez |
| Tomaž Hostnik († 1982) | |
Synthesizer, guitar |
Andrei Lupinc |
synthesizer |
Marko Košnik |
synthesizer |
Srečko Bajda |
| Current occupation | |
singing |
Milan Fras |
Lighting, synthesizer, megaphone |
Ivan Novak |
Vocals, synthesizers |
Mina Špiler |
Drums |
Bojan Krhlanko |
synthesizer |
Luka Jamnik |
synthesizer |
Rok Lopatič |
guitar |
Vitja Balžalorsky |
| former members | |
guitar |
Oto Rimele |
| Matjaz pegam | |
| Peter Vezjak | |
Singing, percussion |
Ervin Markošek |
bass |
Nikola Sekulović |
singing |
Boris Benko |
Singing, percussion |
Eva Breznikar |
Singing, percussion |
Nataša Regovec |
synthesizer |
Primož Hladnik |
synthesizer |
Damjan Bizilj |
synthesizer |
Sašo Vollmaier |
Laibach is a Slovenian music group.
She represents the musical part of the interdisciplinary art collective New Slovenian Art (NSK), which she founded in 1984 together with the painting group IRWIN and the theater group Gledališče Sester Scipion Nasice (today: NOORDUNG ).
The projects Germania , Strom and Klang , Kraftbach , Peter Paracelsus and 300,000 different riots were temporarily created as subgroups of Laibach .
With the name Laibach, the German-speaking name of the Slovenian capital Ljubljana , which was undesirable in Yugoslavia in the post- Tito era , and the simultaneous provocative use of various ideological, political and religious symbols, the musicians deliberately created points of friction with politics.
history
The beginning
The band Laibach was founded on June 1st, 1980 in Trbovlje , then Yugoslavia . This year, Laibach prepared the multimedia project “An alternative to Slovenian art” in Trbovlje, which was banned by the Yugoslav government in advance due to the “inappropriate use of symbols”. On the posters that was Black Cross of Kasimir Malevich been used together with the name Laibach.
In 1982 the group played their first concerts in Ljubljana, Zagreb and Belgrade on their "Tour of the Three Capitals". At that time, Laibach gave each concert its own name, for example the last concert by the singer Tomaž Hostnik was called Dotik Zla ('Touch of Evil'). Hostnik committed after the concert in Zagreb suicide , took his place as a singer Milan Fras. On April 23, 1983 there was a scandal at a joint concert with 23 Skidoo and Last Few Days as part of the Zagreb Music Biennale. At five in the morning, the concert was violently stopped by the Yugoslav army and Croatian police because the film The Future Continues and a porno film had been projected on top of each other. Among other things, President Tito, who had died three years earlier, and a penis could be seen on the screen at the same time. The band had to leave Croatia. Shortly thereafter, the band signed a record deal with the Yugoslav state record company ZKP RTV for the first LP Nebo žari ('Heaven Glows'). However, the treaty was canceled again because the Yugoslav authorities were unsure about the ideological classification of Ljubljana and NSK .
On June 23, 1983, the band appeared in the political program TV Tednik for the first time on television. The band wore uniforms and armbands with Malevich's "Black Cross" and answered the moderator's questions by reading out ready-made statements. On the part of the broadcaster, the performance was staged as a kind of show trial against the band. The martial appearance of Laibach and the deliberately provocative content of their statements led to a ban on the name and any public appearances of the band in Yugoslavia, which continued until 1987.
From November 1983 on, Laibach went on an Occupied Europe tour with the band Last Few Days , on both sides of the “ Iron Curtain ”.
In 1984 Laibach (music), IRWIN (painting, graphics) and Noordung (theater, at that time still under the name Sisters of Scipion Nasice) founded the New Slovenian Art (NSK). In December of the same year, Laibach gave an anonymous concert in Ljubljana despite the ban.
The 1980s
In April 1985 the label ŠKUC Ropot released the group's first album , due to the naming ban, the album was released without mentioning the band name. In the same year the album Rekapitulacija 1980–1984 was released on the Hamburg record label Walter Ulbricht Schallfolien and the single Love is the greatest force that creates everything on the British label Cherry Red Records .
As part of the collaboration with Walter Ulbricht Schallfolien, Laibach performed at the Neu Konservatiw Festival in Hamburg in June 1985 , followed by other concerts in Munich, Berlin, Aachen and Wiesbaden under the title The First Bombardment - Laibach over Germany .
On February 6, 1986, the NSK theater group Gledališče Sester Scipion Nasice premiered the play Krst Pod Triglavom (Baptism under the Triglav) in Ljubljana, the music for the performance was developed and recorded by Laibach. The music was released in 1987 on the double album Klangniederschrift einer Taufe by the record labels Walter Ulbricht Schallfolien and Sub Rosa Records.
In February 1986 the album Nova Akropola was released on the British record label Cherry Red Records. This was followed by a series of performances by Laibach together with the British dancer Michael Clark as part of his production No Fire Escape in Hell in London and Manchester.
In 1986, Laibach was the guest of the British radio presenter and DJ John Peel . The resulting recordings ( Peel Sessions ) appeared in 2002 on the CD Laibach - The John Peel Sessions on Peel's record label Strange Fruit Records .
In 1987 Laibach was signed by the British record label Mute Records and released the album Opus Dei . It contains, among other things, cover versions of the play Live Is Life by the group Opus (once as a German version under the name Leben is Leben and once as an English version under the name Opus Dei ) and One Vision by Queen (under the name Birth of a Nation ). Musically, the pieces on Nova Akropola and Opus Dei increasingly leave the field of industrial and avant-garde and point the way to the style of militant classicism, which Laibach still sees as typical today .
Also in 1987, on the initiative of the theater director Wilfried Minks , Laibach wrote the music for his Macbeth production at the Hamburger Schauspielhaus and as a music group was also part of the production. This was commented on in a theatrical review of the time that was mediocre in its assessment :
“Even 'Laibach' doesn't change anything. The appearance of the musicians (about whose supposedly fascist aura, supposedly terrorist force had been whispered before) remains an ingredient, a mere assertion. They make a lot of noise, but little fear or horror. They remain strangers in an otherwise rather harmless, sedate, simple-hearted spectacle. "
1988 coverte Ljubljana both the complete album Let It Be of the Beatles except the title piece and the piece Sympathy for the Devil of the Rolling Stones in eight different versions.
The 1990s
On the occasion of the German reunification , the single was released October 3rd ( Kraftwerk- like Daniel Miller remix of the play Birth of a Nation ).
In 1992 the album Kapital was released , which musically and conceptually addressed the clash of Western and Eastern cultures after the fall of the “Iron Curtain” and the collapse of the former Eastern Bloc. B. implemented from the field of hip-hop. In 1993 a cross-section of the first concerts in 1982 was published under the name Ljubljana-Zagreb-Beograd .
In 1994, with the release of the techno-pop album NATO , Laibach commented on current events in Eastern Europe and the former Yugoslavia and the politics of the NATO countries. The album contains only cover versions , etc. a. from Europe , Zager and Evans , Bolland & Bolland and DAF . According to his own information in an interview, the then Slovenian Foreign Minister Zoran Thaler handed over a copy of the CD to the then NATO Secretary General Willy Claes during an official diplomatic visit to NATO headquarters in Brussels . In the same year the American death metal band Morbid Angel released the EP Laibach Re-mixes , on which Morbid Angel tracks were remixed by Janex Krizaj under the supervision of the band Laibach and produced by the Laibach side project 300,000 Different Riots.
The CD / VHS box Occupied Europe NATO Tour 1994-95 offered a selection from the band's two-year tour, including performances in Sarajevo on November 20 and 21, 1995.
The album Jesus Christ Superstars , released in 1996, deals with religious issues. In addition to original compositions, there are also cover versions on this album, including Superstar from the musical Jesus Christ Superstar , Prince ' The Cross and Juno Reactors God Is God . Also in 1996 the group played together with the Slovenian Philharmonic Orchestra and the Academic Choir Tone Tomšič at the opening of the European Cultural Month in Ljubljana . Marko Letonja conducted orchestrated versions of the band's early material.
In 1997 the CD MB December 21, 1984 was released with live recordings of early concerts from 1985.
In the new millennium
As part of the world exhibition EXPO 2000 in Hanover, a concert by Ljubljana took place as an official contribution in the Slovenian pavilion. In 2001 and 2003 Laibach performed at the Wave-Gotik-Treffen in Leipzig.
2003 Laibach reported back with the album WAT (We Are Time) . At the end of 2004 the best of double CD Anthems and two DVDs with videos, the concert of the Occupied Europe NATO Tour 1994-95 and the report A Film from Slovenia were released .
On June 1, 2006, as part of the Bach Festival in Leipzig, a reworking of the Art of Fugue by Johann Sebastian Bach was performed as a complete audiovisual installation at the concert for the Kreuzschach and four chess players . A studio version of the piece was published in 2008 under the title Laibachkunstderfuge . On September 1, 2006, as part of the exhibition Return of the Repressive in Birmingham at the Concerto for Magnetophone, Gramophone, Radiophone and Megaphone, an industrial sound collage in the style of the band's earliest works could be heard. On October 23, 2006 the album Volk was released , on which Laibach interprets various national anthems . During the realization of this album, the band worked together with Boris Benko and Primož Hladnik from the band Silence from Ljubljana.
At the end of 2007, the documentary Divided States of America , which was filmed as part of the 2004 US tour of the same name, was released on DVD. Also included is a recording of a concert from the WAT tour in Paris 2004.
On April 18, 2009, Laibach performed together with the Slovenian Symphony Orchestra under the direction of Izidor Leitinger in Ljubljana. Pieces from Richard Wagner's Tannhäuser , Siegfried and Die Walküre von Laibach were reinterpreted under the title Volkswagner . In 2010 they also performed at the M'era Luna Festival .
Laibach and Ben Watkins of Juno Reactor contributed the soundtrack for the film Iron Sky in 2012.
On April 14, 2012, Laibach gave a concert at the Tate Gallery of Modern Art in London, which was released as a live album under the title Monumental Retro-Avant-Garde . On October 19, 2012, a concert by Ljubljana took place in the coal mine Velenje (Slovenia) at a depth of 200 meters under the title “ Coal is Bread ”, where the band's early industrial works were performed. The concert was part of the artistic program for the European Capital of Culture Maribor 2012.
In November 2012, Lew Tolstoy's Die Macht der Darkis was staged at the Schauspielhaus Düsseldorf in a production by Sebastian Baumgarten , for which Laibach wrote the music. In addition, the staging also used optical set pieces in the Laibach style.
The new album Specter went on sale in March 2014 . Laibach put the focus on topics such as capitalism and the oppression and spying of people by the state and politics and that one should defend against it. Examples such as Occupy Wall Street and the whistleblowers Edward Snowden , Chelsea Manning and Julian Assange were mentioned in both the songs and the press releases for the album . In connection with this, the band also founded a symbolic party called the Specter Party . This fictional party is supposed to initiate social changes in line with the Specter theme. Party books with the theses of the party as well as the texts of the party songs (ie the songs on the album Specter ) were added to the limited deluxe CD and can also be bought at the concerts and in the official Laibach shop. Membership registration takes place online on the website of Laibach or the party. Immediately after the album was released, Laibach went on an extensive European tour, which also took the group to Germany for several dates.
In July 2014, Laibach released an EP on behalf of the Polish National Center for Culture commemorating the 70th anniversary of the Warsaw Uprising . This EP contains three songs and was initially only available through the Polish National Center for Culture, later also available through an English-language online shop.
Laibach composed the music for the theater project The Dark Ages by director Milo Rau , which premiered in April 2015 at the Munich Residenztheater , and gave an accompanying concert on the occasion of the premiere.
On June 12, 2015, the band announced on their website that they would give two concerts in the North Korean capital Pyongyang on August 19 and 20, 2015 under the title Liberation Day Tour 2015 . The occasion is the 70th anniversary of the end of the Japanese occupation in Korea, which is celebrated with the Gwangbokjeol holiday. Numerous media held the announcement that Laibach (as the first western music group ever) would appear in the isolated state, initially as a PR gag of the band, but the concerts actually took place as announced. In front of around 1,500 spectators in the Ponghwa Theater, which were mostly North Korean audiences and only a small number of foreign fans, tourists and members of the diplomatic corps, the band played well-known pieces as well as new interpretations of North Korean folk songs and pieces from the musical The Sound of Music . In 2017, a documentary film about the concert in Pyongyang was published under the title Liberation Day .
In February 2020, the music / theater performance Wir sind das Volk , called " Musical ", was performed at the Berlin Theater Hebbel am Ufer , in which texts by Heiner Müller were set to music by Laibach.
Concept and artistic self-image
The "retro avant-garde" principle
The artistic principle of Ljubljana, like all of New Slovenian Art , is today mostly referred to as retro avant-garde or, especially in the case of Ljubljana, as monumental retro avant-garde .
“Retro avant-garde is the basic artistic approach of New Slovenian Art . It is based on the premise that past traumas affecting the present and the future can only be healed through a return to the original conflict that triggered it. Modern art has not yet overcome the conflict that arose from the […] assimilation of the historical avant-garde movements into the systems of totalitarian states. The usual perception of the avant-garde as a fundamental phenomenon of the 20th century is fraught with fears and prejudices. On the one hand, this period is naively glorified and mystified, while on the other hand its abuse, compromises and mistakes are counted with bureaucratic accuracy to remind us that such a grandiose delusion must never be repeated. "
Following this concept, the (pictorial and musical) works of Laibach are characterized by the use of set pieces, symbols , signs, quotations, samples and icons from a wide variety of artistic and political-historical contexts, but especially the totalitarian ideologies of the 20th century.
The musical elements quoted by Laibach come from classical music as well as heavy metal , disco music and techno and Slovenian cultural heritage. In the samples and cover versions used, there are elements of Laibach from works by Gustav Holst , Anton Bruckner , Carl Orff , Franz Liszt and Dmitri Dmitrijewitsch Shostakovich as well as pieces by bands such as Queen , the Beatles or the Rolling Stones .
The described working method of Laibach presupposes a ruthless appropriation of musical material of various origins and processing it for own purposes, thus the artistic ready-made in the sense of Marcel Duchamp and Joseph Beuys .
"The compositional process is a dictated ready-made."
"The composition process is dictated and prefabricated."
This conscious process of constant repetition and reprocessing shows not only the exorcistic but also a psychoanalytic element of Laibach's working method.
Affirmative over-identification
The principle of the “retro avant-garde” describes the basic approach of creating a changed, de-contextualized or recontextualized product by removing musical and ideological elements from their traditional context. In the works of Laibach, however, this does not happen with the aim of irony, satire, exaggeration or critical distance, but instead with the aim of “affirmative over-identification”. The Slovenian philosopher Slavoj Žižek , whose Slovenian Jacques Lacan School inspired the NSK with regard to its interpretation of the symbolic as well as its ideas on ideology and postmodernism , described this extraordinary, seemingly exorcistic approach as “ crossing the phantasm ”. Laibach did not adopt the usual liberal approach of the historical avant-garde movements (or the contemporary Yugoslav punk movement), but rather deliberately simulated in his works the susceptibility of such movements to corruption by political systems:
"All art is subject to political manipulation [...], except for that which speaks the language of this same manipulation."
"All art is subject to political manipulation [...], except that which speaks the language of this manipulation."
The radical and ambivalent approach of "over-identification" culminates in the totalitarian, non-communicative and sometimes martial staging of Laibach and the associated externally represented claim to absoluteness , which in turn represents a symbolic appropriation of the functioning of totalitarian ideologies and regimes:
"Our freedom is the freedom of those who think alike."
"Our freedom is the freedom of those who think alike."
"We [...] are the engineers of human souls."
"We [...] are the engineers of the human soul."
In addition to the bombastic style of music, the band's concerts are characterized by massive volume, glaring light effects and the uniformed appearance of the band itself. The recipient should be overwhelmed by the exaggerated effect - in order to then experience all the more intensely that what is shown is ultimately a “nothing “, A dysfunctional ideology, a contradiction in terms, in order to promote the intellectual debate with what is shown. With the exception of the artistic context set by Laibach, empty set pieces and fragments of ideology remain, which can be experienced in the “complete dullness of their material presence” (Žižek):
"Laibach are not an answer - they are a big questionmark."
"Laibach are not an answer - they are a big question mark."
The strategy described is not limited to concerts and appearances by the band, but continues to a certain extent in interviews and statements by the group, so that the artists themselves are ultimately not recognizable as individuals, but consistently their roles within the one they have created Play the structure to the end and leave the recipient completely in the dark about the underlying concept:
"We are as much fascists as Hitler was a painter."
"We are as much fascists as Hitler was a painter."
"Pop music is for sheep and we are shepherds disguised as wolves."
"Pop music is for sheep and we are shepherds disguised as wolves."
The same principle is also expressed in the massively emphasized anonymity and collective working method of Laibach:
“Laibach adopts the organizational system of industrial production and the identification with ideology as its work method. In accordance with this, each member rejects his individuality, thereby expressing the relationship between the particular form of production system and ideology and the individual. [...] The internal structure functions on the directive principle and symbolizes the relation of ideology towards the individual. "
“Laibach takes over the organizational system of industrial production and the identification with ideology as a working method. Accordingly, each member rejects their individuality and thus expresses the relationship between the respective form of the production system and the ideology and the individual. [...] The internal structure functions according to the principle of guidelines and symbolizes the relationship between ideology and the individual. "
Following this principle, the band invariably names EBER - SALIGER - KELLER - DACHAUER as their line-up to this day, regardless of the actual personnel changes, as a principle established in 1982. Actual names are only explicitly mentioned by temporary guest musicians, the actual Laibach actors remain unnamed in the band's official announcements to this day (although they are now known).
The aim of Laibach was and is, regardless of their deconstruction and dismantling of the source material, nevertheless, according to the generally prevailing view today, not to be understood as total criticism and rejection. Her works should not criticize or accuse the ruling systems and ideologies, but rather, through over-affirmation, show their hidden mechanisms and premises, which are not accessible to "conventional" criticism:
“In this sense, it [Laibach / NSK's strategy] appears in a new light: It 'frustrates' the system (the ruling ideology) precisely in that it is not its ironic imitation, but its over-identification with it - the The efficiency of over-identification is that it brings out the obscene superego on the underside of the system. "
Laibach herself stated in an interview that even in her early days her stance was not explicitly directed against the political system of Yugoslavia at the time:
“Laibach was never a dissident group. We did not 'hate' Yugoslavia or its regime and we did not want to overcome it. On the contrary: We wanted to make it stronger, better and more effective. But it was too late. Yugoslavia was created in the period of late surrealism and hypersocial realism. It came to its climax in modernism and began to dissolve in postmodernism. In fact, it was an eclectic retro-formation and not a homogenized modernist surface. The split of Yugoslavia, the change of a system and the war which followed was in a way the logical result of the end of the utopian dream. "
“Laibach was never a dissident group. We did not "hate" Yugoslavia and its regime and did not want to overcome it either. On the contrary: we wanted to make it stronger, better and more effective. But it was too late. Yugoslavia was created during the period of late surrealism and hypersocial realism. It peaked in modernity and began to dissolve in postmodernism. In fact, it was an eclectic retro formation and not a homogenized modernist surface. The split in Yugoslavia, the change of system and the war that followed were, in a way, the logical result of the end of the utopian dream. "
Cover versions
The described principle of the retro avant-garde led Laibach not only to the massive use of sampling but also to full cover versions of well-known pieces of music. Laibach himself does not refer to these pieces as cover versions, but as "new originals":
“The essence of music is a miracle of technology, which is based on mechanical principles of the universe. The essence of mechanics is 'Eternal Return of the Same'. On this basis we find no superiority in the cover versions over sampling technologies. Our work, however, which is original, or rather a copy without original, is superior to the historical material. "
“The essence of music is a marvel of technology based on the mechanical principles of the universe. The essence of mechanics is "Eternal return of the same". On this basis, we do not find any superiority in the cover versions over sampling technologies. Our work, which is original, or rather a copy without an original, is superior to the historical material. "
The main artistic approach of the Laibach cover versions is to use stylistic and content shifts to indicate the actual subliminal content from material from pop culture, which may initially appear to be irrelevant and ordinary, and to place this in a larger context. The pieces “are forced to carry a symbolic weight for which they were not constructed, overloaded with conceptual and tonal excess” (Alexei Monroe).
The best-known piece in this regard is the cover version of Queens One Vision , which appeared on the album Opus Dei under the title Birth of a Nation . The Birth of a Nation is the title of an American silent film from the year 1915. The new interpretation in the German language and use of fanfares and Marschrythmen sets the " crypto-fascist " trains of pop music open by elevation:
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Laibach's text (excerpt):
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Original text by Queen (excerpt):
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Laibach himself commented on this piece in an interview:
“Queen are very honest. They are bringing out the main principles of pop culture. [...] Queen show how the concert is really a political event. The band controls a large number of people and has them behaving according to their vision. "
“Queen are very honest. They bring out the main principles of pop culture. […] Queen show how the concert is really a political event. The band controls a large number of people and lets them behave according to their vision. "
Other cover versions of Laibach include Opus ' Live Is Life (1987), Europe's The Final Countdown (1994) and Bob Dylan's Ballad of a Thin Man (2012).
In 2003 the piece Tanz mit Laibach appeared on the album WAT , which was originally intended as a cover version of the piece Der Mussolini by DAF . Due to difficulties with the rights holders, however, the piece was published with a completely new text written by Laibach and its own musical composition.
Sympathy for the Devil
In 1988 the band released a cover version of the Rolling Stones classic Sympathy for the Devil on Mute Records as a 7 "and 12" single and then an album entitled Sympathy for the Devil , which they interpreted exclusively from various (also multilingual) self-interpreted Versions of the song exist.
In the music video “Laibach stages the ideas and prejudices about the East”. The rhythms and sounds that “can be associated with indigenous cultures” and that put the devil “in context with the 'uncivilized'” are taken up by Laibach and transformed on a visual level “in which the devil and what he stands for is projected into the east ”. At the beginning, "[a] a castle surrounded by forests and covered with clouds of fog in the dark of night [...] is shown", a game with the clichés of horror films . The acoustic background is reminiscent of that of ghost trains, accompanied by a "scornful voice with a Slavic accent from the off ". Because of the “cheap and kitschy way” of the staging, this “Hollywood-produced idea is exposed to ridicule”. The banquet scene shows the Laibach members "acting as archaic- barbaric gentlemen" in the castle, whereby "[the] focus [...] is decidedly on the consumption of food and drink". The furnishings "oscillate between luxury and kitsch, mainly due to the stuffed animals like the boar's head, whose tongue is almost hanging out, or the huge bear that moves sideways". According to Alexei Monroe's interpretation of Slavoj Žižek's theory of enjoyment in nationalism , Laibach represents here “a spectral, ritualized form of Eastern enjoyment that others envy but can never fully participate or understand”. This scene “confirms and denies Western stereotypes of impoverished, oppressed Europeans who can only access premodern forms of enjoyment”. To the western eye this appears both archaic and strangely fascinating.
The depicted image of the East also includes violence, arbitrariness and chaos: In a short episode, men ride into a city that "seems to belong to another world". An obviously kidnapped man falls from a horse and pulls it and the rider to the ground. When he tries to escape, the rider first shoots his horse and then the refugee. This does not seem to be an unknown image to passers-by; in their attempt to get to safety, "there is no real panic to see, but rather a routine act". Another scene shows a blonde woman kneeling on a Laibach emblem, praying in front of a (Mary) statue and "slowly turning her cold gaze into the camera".
“This picture is irritating. It is not only of interest that she may or may not 'worship' Laibach or a system, but that she even carries out this action, that she is a believer, which, according to Žižek , must deeply irritate the cynic who only believes in his own enjoyment and that Believers, to put it bluntly, actually considered barbaric. But it is perhaps further irritating insofar as we equate the viewer with the western viewer that they may assume that this woman would like to be rescued from this brutal environment, but that is exactly what she doesn't seem to want, she simply belongs there. Your gaze seems to be laughing at the viewer. According to this reading, the offense for the viewer must arise in the last scene when the singer, as Pater familias, protects his family, to which this woman also belongs, which then seems to indicate that one is seeking the help of the strange viewer definitely not needed. "
The video reflects the tendency to come to the conclusion that the reality of the people who live within a system corresponds to their own image and knowledge of that system. Here, the characteristics of the political system are intertwined with the people living there; So if a system is brutal, barbaric and totalitarian, it is deduced that this also applies to the population. Laibach manipulates Western prejudices and at the same time applies a “highly sophisticated retrograde methodology”. This “fantasy of 'primitive Balkanism'” was propagated in the media shortly afterwards during the war in Yugoslavia .
Music genre
Although Laibach basically sees itself as a “rock band”, the style of music spans a wide range of genres and the result is a sound collage that is partly unique in this form.
The band's early pieces in the first half of the 1980s were still largely post-punk and post-industrial and, with their early works Laibach (1985), Rekapitulacija (1985) and Nova Akropola (1986), partially adopted the martial style Industrial first . The pieces of this period are characterized by the use of bass and drums, paired with simple electronic sound generation and the use of cassette recorders for samples and, in terms of content and music, reflect the actual industrial impressions of the mining town of Trbovlje, from which the founding members of Laibach come. Examples of this style period include the pieces Red Silence and Delo in disciplina (work and discipline) .
Starting in the mid-1980s, the album Nova Akropola gradually emerged in the typical Laibach style known as militant classicism (Alexei Monroe) , which is characterized by military marching rhythms, fanfares and samples of classical music paired with fragments of political speeches and statements, especially by Josip Broz Tito . In comparison, the pieces are quieter and sometimes exude an almost mystical atmosphere. Examples of this style include the pieces Brat moj (My Brother) and Država (The State) .
“Militant classicism is a form which unites the mechanics of organic rhythm and the confusion of intuitive sound internventions into the harmony of the beautiful idea. We have monopolized the right to chaos so as to underline order. "
“Militant classicism is a form that combines the mechanics of organic rhythm and the confusion of intuitive sound interventions in the harmony of the beautiful idea. We have monopolized the right to chaos to underline order. "
With the release of the albums Opus Dei and Let It Be towards the end of the 1980s, this style was supplemented by numerous cover versions of well-known pieces from the rock and pop area, which were accordingly reshaped in the form of militant classicism .
From the end of the 1980s - while maintaining the basic style - there was an increased turn to disco , techno and sometimes even rap elements, culminating in the albums Kapital (1992) and NATO (1994).
"We are fascinated by disco aesthetics [...] which is - as a regular repetition - the purest form of militantly organized rhythmics of technicist production and classicist beauty."
"We are fascinated by the disco aesthetic [...], which - as regular repetition - is the purest form of militantly organized rhythms of technicalist production and classicist beauty."
In contrast , the album Jesus Christ Superstars , released in 1997, is heavily influenced by elements of heavy metal .
"The reason we moved more into the heavy metal genre is because heavy metal was the first genre to question the moral values of religion."
In the new millennium, Laibach returned to the militant classicism of the late 1980s with the album WAT , with the music being fundamentally more accessible and more influenced by electronic sounds. The album Volk , released in 2006, with reinterpretations of various national anthems, is even more influenced by electronic sounds and is generally much less martial. With the projects LAIBACHKUNSTDERFUGE and Volkswagner , Laibach increasingly turned to classic models and reinterpreted them in a classic orchestrated way ( Volkswagner ) or purely electronically ( LAIBACHKUNSTDERFUGE ).
The band's way of thinking is reflected in this idiosyncratic and sometimes controversial composition of styles. Here the principle of over-identification with totalitarian ideology becomes clear: Laibach appropriates everything.
“We take a little bit of everything and create something different in a new combination. That is our eclecticism. "
The basic idea of militant classicism is also expressed in the group's stage presence. Laibach concerts are usually characterized by the uniformed and authoritarian appearance of the musicians as well as the live use of appropriate instruments such as drums and fanfares. The disciplined action stands in stark contrast to the more spontaneous and free approach of rock music. The aesthetic effect is exaggerated by corresponding video projections and banners with typical Laibach symbolism, although this basic appearance is also deviated from for certain projects.
Laibach as an interdisciplinary total work of art
Although Laibach is primarily a musical group in the popular perception, the group has always been active in other artistic fields. The first action planned by the group in 1980 was to consist of a concert part and an exhibition with pictures and video art.
In addition to numerous Laibach posters, especially those made in the 1980s, the group created not only video art, but also paintings, graphics and objects. Significant visual works include the poster Miotacz (The Thrower) from 1980, the linocut series Red District and the series of paintings Eber, Saliger, Dachauer, Keller from 2008.
Occasionally, Laibach appeared independently of concerts in the broadest sense as a performance artist . In 2003 the group appeared in a newly opened shopping center in Ljubljana in SS and Wehrmacht uniforms to “go shopping” in order to artistically sound out the totalitarian elements of consumption and capitalism .
In today's professional reception, Laibach is therefore generally seen less as a band, but as an interdisciplinary group ( multimedia artist collective “Laibach Art” ) or even as a “self-created collective art product and homogeneous total work of art”.
The exhibitions LAIBACH KUNST - Rekapitulacija in 2009 in Lodz and LAIBACH KUNST 1980–2010 - Red District and Black Cross in 2010 in Trbovlje retrospectively paid tribute to the artistic work of Ljubljana outside of music.
Laibach and the "NSK State"
In 1992 the NSK declared its transformation from a collective into a state (“State in Time”). This state should have "no borders and no territory", but should be understood as an "abstract organism and suprematist body".
The virtual NSK state then symbolically issued identification documents to members and supporters of the NSK. At the same time, embassies, consulates and passport offices were set up in Ljubljana , Moscow , Berlin , Sarajevo , Florence , Milan and Umag, as well as on the Internet , on a temporary basis and as required . In addition, the virtual currency "NSK" existed for a time, and its own postage stamps and even nationality symbols were issued for vehicles.
"Art is fanaticism that demands diplomacy."
"Art is fanaticism that requires diplomacy."
On certain occasions, the NSK state also temporarily proclaimed certain territories as “state territory”. B. as part of the event "NSK State Berlin" in 1993 the building of the Volksbühne Berlin with two concerts by Laibach.
Unconfirmed reports it may be repeated succeeded people to cross with their NSK passports international borders - that is intended in particular the issue of NSK passports as part of the "NSK Drzava Sarajevo" event in the embattled Sarajevo 1994/95 numerous particular Bosnian nationals the right to leave made possible the civil war-torn country.
Laibach actively propagated the NSK state, particularly in the mid-1990s. For example, the computer-animated music video for The Final Countdown , which appeared in 1994, initially shows the production of NSK passports and calls for people to become “citizens of the first global state of the universe” with text overlays in numerous different languages (“Become a citizen of the first global state of the universe, the state of NSK "). The video ends with the representation of an NSK embassy building in space (“NSK Embassy Mars”). The look of the virtual building is based on the 1947 but never realized design by the Slovenian architect Jože Plečnik for a Slovenian parliament building in Ljubljana.
The “National Anthem” of the NSK state is located on the Laibach album Volk , released in 2006, under the title NSK . The piece is a remake of The Great Seal , published in 1987 on the album Opus Dei , which takes up elements of Winston Churchill's address "We shall fight on the beaches" and ends with the statement "We shall defend our state" .
Effect and criticism
Reception in the 1980s
Yugoslavia
Due to the massive use of totalitarian and otherwise ideologically meaningful signs and symbols and their totalitarian appearance, Laibach repeatedly caused provocations, misunderstandings and confusion. Above all, the band's early days in socialist Yugoslavia were marked by political controversies and event bans, especially the complete ban on performances from 1983 to 1987.
Europe and North America
In Europe and North America, too, the group was taken up as problematic in the 1980s, whereby the ambivalence of their artistic expression led to them being viewed as presumably neo-Nazi / fascist in Western Europe (especially in Germany), similar to Yugoslavia and the Eastern Bloc states , whereas in the USA they were partly suspected of “communist subversion”.
Richard Wolfson wrote about her:
“Laibach's method is extremely simple, effective and horribly open to misinterpretation. First of all, they absorb the mannerisms of the enemy, adopting all the seductive trappings and symbols of state power, and then they exaggerate everything to the edge of parody.
Next they turn their focus to highly charged issues - the West's fear of immigrants from Eastern Europe, the power games of the EU, the analogies between Western democracy and totalitarianism. "
“Laibach's method is very simple, effective and extremely prone to misinterpretation. First, they absorb the habits of opponents, adapt all the seductive enticements and symbols of state power, then exaggerate them all to the limits of parody .
Next they turn their attention to the controversial issues - the West's fear of immigrants from the East, the power games within the EU , the analogies between Western democracy and totalitarianism . "
Ljubljana and the independence of Slovenia
Laibach's provocations against the Yugoslav regime of the post- Tito era naturally led to corresponding reactions from the state, but at the same time heightened the awareness of intellectual circles and the general population for the issues raised by Ljubljana and New Slovenian Art . In the aftermath of the upheavals in the Balkans and the independence of Slovenia in 1991, New Slovenian Art, and in particular Ljubljana, was therefore assigned the role of a “catalyst” for these political upheavals, especially in Slovenia. To what extent this is actually true is difficult to assess.
What is certain is that since this time at the latest, Ljubljana has lost its role as provocateurs and intellectual arsonists dangerous to the state. In the meantime, Ljubljana has become a positive figurehead of the country and a cultural export hit and appeared among other things in 1997 as part of the official celebrations for the “European Cultural Month” in Ljubljana and in the Slovenian pavilion at the EXPO 2000 world exhibition in Hanover. The explanations and interpretations of the internationally known Slovene philosopher and Laibach apologist Slavoj Žižek in this respect may have played an important role in the rehabilitation of the band .
In the same way, due to the more intensive examination of the topic, the allegations of fascism in Western Europe and the USA also disappeared , so that today Laibach is perceived as an art phenomenon or simply as a band, largely apolitical.
Laibach today
With the dissolution of the Yugoslav state, the collapse of the Eastern Bloc , German reunification, and European integration , large parts of the originally relevant complex of themes in Ljubljana initially seemed to have been lost and her artistic approach therefore seemed irrelevant in the future. From the mid-1990s onwards, Laibach opened up to other topics, but strictly retained the basic concept and working method and / or increasingly also worked in a self-referential manner (“ ars gratia artis ”).
In addition to opening up to new subject areas, Laibach also increasingly opened up in terms of external presentation, and Laibach's works became more accessible both musically and in terms of content. The group itself described the 2004 best-of album Anthems as the end of a period .
To this day, the provocative handling of totalitarian, especially National Socialist, aesthetics has remained a self-deprecating stylistic device from Laibach. In recent years, for example, condoms with the imprint Anti-Semitism or soap with the slogan Schwitz-Aus have been offered as merchandise .
Similar to Kraftwerk , Ljubljana achieved museum status in certain respects during its lifetime - numerous concerts, exhibitions and publications in recent years were at least partially retrospective, such as the most recent exhibition LAIBACHKUNST 1980-2010 - Red District + Black Cross in 2010 in Trbovlje (Slovenia ) or the concert at the Tate Gallery of Modern Art in London 2012.
Influence on other artists
According to their own information, the German band Rammstein was inspired by the style of Laibach. The deep singing of Rammstein singer Till Lindemann shows parallels to the singing style of Laibach's Milan Fras. The Rammstein logo takes up the Black Cross of Kasimir Severinovich Malevich, also used by Laibach . Rammstein based a stanza from her Rammlied on parts of the text of Laibach's birth of a nation :
A way
A goal
A motive
(RAMMSTEIN)
A direction
A feeling made of
flesh and blood
A collective
In 2004, Laibach remixed the Rammstein title Ohne dich , whereby the changed text ( You can't be without me ) can be interpreted ironically to the effect that Rammstein could not exist without Laibach. In an interview in 2004, Laibach admitted certain parallels with Rammstein, but stated that Rammstein was Laibach for children and Laibach was Rammstein for adults .
In 1999 the tribute sampler Schlecht und ironisch - Laibach Tribut , appeared on which various industrial and experimental bands, including Kirlian Camera and Prager Handgriff , published cover versions of Laibach pieces.
Discography
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Albums
- Laibach (SKUC / Ropot, 1985 / CD 1995)
- Rekapitulacija 1980–1984 (Walter Ulbricht Schallfolien, 1985 / CD 1987)
- New Conservative (Cold Spring Records, 1985)
- Nova Akropola (Cherry Red, 1985 / CD 1987)
- The Occupied Europe Tour (Side Effects Rec., 1986 / CD 1990)
- Opus Dei (Mute Records, 1987)
- Slovenska Akropola (Ropot, 1987 / CD 1995)
- Krst pod Triglavom-Baptism (Walter Ulbricht Schallfolien, 1987 / CD Sub Rosa, 1988)
- Let It Be (Mute Records, 1988)
- Macbeth (Mute Records, 1989)
- Sympathy for the Devil (Mute Records, 1990)
- Capital (Mute Records, 1992)
- Ljubljana-Zagreb-Beograd (The Gray Area / Mute Records, 1993)
- NATO (Mute Records, 1994)
- Occupied Europe Nato Tour 1994-95 (CD and VHS) (Mute Records, 1996)
- Jesus Christ Superstars (The Gray Area / Mute Records, 1996)
- MB December 1984 (Mute Records, 1997)
- Laibach 1999 Reissue (Nika - NSK Recordings, 1999)
- Nova Akropola Reissue (Nika - NSK Recordings, 2002)
- Rekapitulacija Reissue (Nika - NSK Recordings, 2002)
- The John Peel Sessions ( Strange Fruit Records , 2002)
- New Conservative Reissue (Cold Spring Records, 2003)
- WAT (Mute Records, 2003)
- Anthems (Mute Records, 2004)
- Volk (Mute Records, 2006)
- Volk Tour, London CC Club April 16, 2007 (Live Here Now, 2007)
- Laibachkunstderfuge - BWV 1080 (Dallas / Mute Song, 2008)
- Gesamtkunstwerk - Document 81-86 (Vinyl on Demand)
- An Introduction to… Laibach / Reproduction Prohibited (Mute, 2012)
- Iron Sky - The Original Film Soundtrack (Mute Artists Limited, 2012)
- Monumental Retro-Avant-Garde (Live At Tate Modern / April 14, 2012) (Mute and Abbey Road Live Here Now, 2012)
- Specter (Mute Artists Limited, 2014)
- Also Sprach Zarathustra (Mute Records, 2017)
- The Sound Of Music (Mute Records, 2018)
- Laibach Revisited (DZR, 2020)
Official live tapes
- Laibach / Last Few Days (MC, 1983)
- Documents of Opression (MC, 1984)
- Vstajenje v Berlin (MC, 1984)
- Live in Hell (MC, 1985)
- An actor (MC, 1985)
- Divergences / Divisions (MC, 1986)
Singles
- Boji / Sila / Brat Moj 12 "(LAYLAH Antirecords, 1984, LAY02)
- Panorama 12 "(1984, 12 EWS 3)
- Love 12 "(1985, 12 CHERRY 91)
- Birth of a Nation 12 "(Mute Records, 1987, MUTE 60)
- Life Is Life 7 "/ 12" (Mute Records, 1987, MUTE 62)
- Sympathy for the Devil 2x12 "/ CD / Picture-Disc (Mute Records, 1988, 1 MUTE 80T / 2 MUTE 80T)
- Across the Universe 7 "/ 12" / CD (Mute Records, 1988, MUTE 91)
- Love / Panorama CDS (1989, CDCHERRY91)
- October 3, 12 "/ CD (Mute Records, 1990, MUTE INT 826.950)
- Wirtschaft ist tot 12 "/ CD (Mute Records, 1992, MUTE 116)
- Final Countdown 12 "/ CD (Mute Records, 1994, MUTE 117)
- In the Army Now / War 12 "/ CD (Mute Records, 1995, MUTE 197)
- Jesus Christ Superstar CD (Mute Records, 1996, MUTE 197)
- Tanz mit Laibach 12 "/ CD (Mute Records, 2003, MUTE 197)
- The game is from 12 "/ CD (Mute Records, 2004, MUTE319)
- Anglia 12 "/ CD (Mute Records, 2006, MUTE364)
- 1 VIII 1944. Warszawa CD (Polish National Center for Culture, 2014)
- Party Songs (EP, Mute Records, 2019)
Side projects
- 300,000 UK
- Peter Paracelsus , 1994
- So spoke Johann Paul II , 1997
- Bill Gates-Hard Drive , 1999
- Titan , 2008
- Peter Paradox , 2019
Movies / Videos
- Pobeda pod suncem / Victory under the sun (VHS, Avala Film, 1988)
- Predictions of Fire - A film about art, politics and war (VHS, Kinetikon Pictures / RTV Slovenija, 1996)
- The Videos - Wat EPK (DVD, Mute Records, 2004)
- A Film from Slovenia - Occupied Europe Nato-Tour 1994-95 (DVD, Mute Records, 2004)
- Divided States of America - Laibach Live in Paris 2005 (DVD, Mute Records, 2006)
- LaibachVolk - Dead in Trbovlje (DVD, Mute Records, 2008)
- Liberation Day (Dogwoof Ltd., 2017)
literature
- Daniela Kirschstein, Johann Georg Lughofer, Uwe Schütte (eds.): Complete work of art Laibach. Sound, image and politics. Drava, Klagenfurt 2018, ISBN 978-3854359005 . Review by Stefan Simonek, accessed on August 27, 2019
- Johann Georg Lughofer, The use of German as obstinacy. The Slovenian art formation Laibach. In: reflections. Journal for German culture and history of Southeast Europe, vol. 14, issue 1/2019
- Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991.
- Marjan Golobic (translator): New Slovenian Art. Amok Books, Los Angeles 1992, ISBN 1-878923-05-6 (English).
- Inke Arns: New Slovenian Art - NSK. Laibach, Irwin, Gledališče sester Scipion Nasice, Kozmokinetično gledališče Rdeči pilot, Kozmokinetični kabinet Noordung, Novi kolektivizem. An analysis of her artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie , Regensburg 2002, ISBN 961-90851-1-6 (text part: PDF ; 2.93 MB).
- Alexei Monroe: Interrogation Machine. Laibach and NSK. The MIT Press, 2005, ISBN 0-262-63315-9 (English).
- Alexei Monroe: Laibach and NSK - The Inquisition Machine in Cross Examination. Ventil Verlag, 2014, ISBN 978-3-95575-001-5 (German).
- Alexei Monroe: Pluralni Monolit. Ljubljana in NSK. Maska, Ljubljana 2003, ISBN 961-91078-3-7 (Slovenian).
- Zdenka Badovinac / Eda Cufer / Anthony Gardner (eds.): NSK From Kapital to Capital , Moderna galerija Ljubljana / The MIT Press, Ljubljana 2015, ISBN 978-0-262-02995-7 .
- Peter Mlakar: Speeches to the German Nation. Turia and Kant, Vienna 1993, ISBN 3-85132-040-9 (with the speeches from the Laibach concerts).
- Naomi Hennig / Viktor Skok (eds.): Exhibition LAIBACH KUNST - Rekapitulacja / Recapitulation 2009. Muzeum Sztuki, Lodz 2009.
- IRWIN (Ed.): State in Time , NSK Information Center / Dolenjski Muzej, Ljubljana 2012, ISBN 978-961-6306-41-6 .
- Mike McGee & Larry Reid: Charles Krafft's "Villa Delirium" , Grand Central Press, Santa Ana 2002, ISBN 0-86719-574-6 .
Web links
- Official website
- The Unofficial Laibach Site
- Laibach at Allmusic (English)
- Laibach bei Discogs (English)
- Laibach on MusicBrainz (English)
- Laibach at laut.de
swell
- ↑ a b c d e f g h Glenn Gossling: LAIBACH . In: Peter Buckley: The Rough Guide to Rock . The Definitive Guide to More than 1200 Artists and Bands , 3rd Edition: Expanded and Completely Revised, London: Rough Guides Ltd 2003, p. 575ff.
- ↑ a b c d e f g h i j k Laibach members ( Memento of the original from May 25, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed March 15, 2013.
- ↑ Monumental Retro-Avant-Garde, audio CD, Mute Artists Limited, 2012 (supplement)
- ↑ Laibach History Part 5 ( Memento of the original from September 26, 2009 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. .
- ^ Inke Arns: New Slovenian Art - NSK. Laibach, Irwin, Gledališče sester Scipion Nasice, Kozmokinetično gledališče Rdeči pilot, Kozmokinetični kabinet Noordung, Novi kolektivizem. An analysis of her artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 14.
- ↑ a b Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 12 ff.
- ^ Eva-Maria Hanser: Ideotopie . Playing with the ideology and utopia of 'Laibach art'. Vienna 2010, p. 5 ( univie.ac.at [PDF; accessed on April 18, 2011]).
- ^ A b Richard Wolfson: Warriors of weirdness . In: The Daily Telegraph , September 4, 2003.
- ^ Markus Hesselmann: Laibach: Zonenkinder. In: Der Tagesspiegel , April 10, 2004.
- ↑ a b Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 78
- ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 24 ff.
- ^ Inke Arns: New Slovenian Art - NSK. Laibach, Irwin, Gledališče sester Scipion Nasice, Kozmokinetično gledališče Rdeči pilot, Kozmokinetični kabinet Noordung, Novi kolektivizem. An analysis of her artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 32
- ^ Inke Arns: New Slovenian Art - NSK. Laibach, Irwin, Gledališče sester Scipion Nasice, Kozmokinetično gledališče Rdeči pilot, Kozmokinetični kabinet Noordung, Novi kolektivizem. An analysis of her artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 32 ff.
- ^ Inke Arns: New Slovenian Art - NSK. Laibach, Irwin, Gledališče sester Scipion Nasice, Kozmokinetično gledališče Rdeči pilot, Kozmokinetični kabinet Noordung, Novi kolektivizem. An analysis of her artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 35
- ↑ Interview in TV Tednik, "Prva TV generacija" ( Memento of the original from June 9, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. .
- ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, pp. 35–38.
- ^ Inke Arns: New Slovenian Art - NSK. Laibach, Irwin, Gledališče sester Scipion Nasice, Kozmokinetično gledališče Rdeči pilot, Kozmokinetični kabinet Noordung, Novi kolektivizem. An analysis of her artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 38
- ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, pp. 23, 78
- ↑ a b Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, pp. 78, 79
- ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, pp. 79, 80
- ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 79
- ↑ Alexei Monroe: Interrogation Machine. Laibach and NSK. The MIT Press, 2005, pp. 217, 229 ff.
- ↑ a b Brown deer. In: Der Spiegel , No. 36, August 31, 1987, pp. 199–202, accessed on January 24, 2013.
- ^ Benjamin Henrichs: Theater in Hamburg: Wilfried Minks staged Shakespeare's "Macbeth" . In: Die Zeit , 38/1987.
- ↑ Alexei Monroe: Interrogation Machine. Laibach and NSK. The MIT Press, 2005, pp. 238, 239
- ^ LAIBACH - Occupied Europe NATO Tour 1994-95 , Mute Records, London 1996.
- ↑ TV Slovenia (SLO2): Otvoritveni concert if Evropskem mesecu kulture
- ↑ a b The program of Slovenia. In: Spiegel Online , June 16, 2000, accessed January 24, 2013.
- ↑ WGT - artist line-up 2001 ff.
- ↑ Hanno Reichel: LAIBACHKUNSTDERFUGE - concert for the cross chess and four actors ( Memento from July 11, 2006 in the Internet Archive ). In: Coilhouse Magazine - A love letter to alternative culture , Interpress Ltd., Hong Kong 2008, accessed January 24, 2013.
- ↑ am: Return of the Repressive (RoTr). Birmingham 1st - 3rd September , July 2006, accessed February 17, 2013.
- ↑ Volkswagner , accessed April 1, 2013.
- ↑ Mera Luna - Line-Up-History
- ^ Website of the Slovenian Coal Mining Museum Velenje; http://muzej.rlv.si/de/303 , accessed on March 3, 2013
- ↑ Karin Fischer: Roaring moral debacle. In: Deutschlandfunk , November 26, 2012.
- ↑ https://www.residenztheater.de/inszenierung/dark-ages , accessed on November 30, 2017
- ↑ [1]
- ↑ Laibach give concerts in Pyongyang. In: Spiegel Online . July 15, 2015, accessed June 9, 2018 .
- ↑ Christoph Giesen: That's what actually comes to the camp. In: Süddeutsche Zeitung , August 22, 2015.
- ↑ http://www.liberationday.film/film/ , accessed on November 30, 2017.
- ↑ https://www.deutschlandfunkkultur.de/wir-sind-das-volk-von-laibach-heiner-mueller-texte-als.1013.de.html?dram:article_id=469881 , accessed on February 11, 2020
- ↑ Interview with Miran Mohar (IRWIN), http://www.ljudmilla.org/embassy/3b/retro.htm ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. quoted from Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia , Museum Ostdeutsche Galerie, Regensburg 2002, p. 17, FN 24.
- ↑ Eda Cufer & Irwin: NSK State in Time (1993); in: Irwin. Zemljopis Vremena / Geography of Time ; quoted from Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia , Museum Ostdeutsche Galerie, Regensburg 2002, p. 17.
- ↑ a b c d e f g h i j k Alexei Monroe: Laibach - Our story , CD booklet Laibach Anthems , Mute Records, 2004.
- ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 85 ff.
- ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002.
- ↑ Quoted from Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 14, FN 18.
- ↑ We dance Ado Hinkel ( Memento from August 27, 2010 in the Internet Archive ). Netzeitung , October 17, 2003, accessed on March 15, 2013.
- ↑ a b Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 43 ff.
- ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 166.
- ↑ Interview with Slavoj Žižek. In: Peter Vezjak: Bravo - Laibach v Filmu , Dallas DOO, Ljubljana 1993.
- ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991.
- ↑ Quoted from: Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 36.
- ↑ LAIBACH: 10 items of the covenant (1982) , quoted from: Darko Pokorn (Hrsg.): Neue Slovenische Kunst. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 18.
- ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 93.
- ↑ Quoted from Eva-Maria Hanser: Ideotopie . Playing with the ideology and utopia of 'Laibach art'. Vienna 2010, p. 31–34 ( univie.ac.at [PDF; accessed on September 14, 2011]).
- ↑ Nina Stimac: Laibach - New Slovenian Art , interview with Laibach. In: Subline Musikmagazin , issue 11, November 1994, p. 59.
- ↑ Alexei Monroe: Interrogation Machine. Laibach and NSK. The MIT Press, 2005, p. 214
- ↑ Alexei Monroe: Interrogation Machine. Laibach and NSK. The MIT Press, 2005, p. 216 ff.
- ↑ Alexei Monroe: Interrogation Machine. Laibach and NSK. The MIT Press, 2005, p. 226 ff.
- ↑ Dirk Hoffmann: Interview with Laibach . In: Zillo Musikmagazin , issue 11, November 1996, p. 48.
- ↑ Alexei Monroe: Interrogation Machine. Laibach and NSK. The MIT Press, 2005, p. 267 ff.
- ↑ Nina Stimac: Laibach - New Slovenian Art , interview with Laibach. In: Subline Musikmagazin , issue 11, November 1994, p. 58.
- ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 32
- ^ Inke Arns: New Slovenian Art - NSK. Laibach, Irwin, Gledališče sester Scipion Nasice, Kozmokinetično gledališče Rdeči pilot, Kozmokinetični kabinet Noordung, Novi kolektivizem. An analysis of her artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 25
- ↑ Alexei Monroe: Survey of the Everyday , http://archiv.fridericianum-kassel.de/ausst/balkan03/kuenstler/41.html , accessed on March 30, 2013
- ^ Inke Arns: New Slovenian Art - NSK. Laibach, Irwin, Gledališče sester Scipion Nasice, Kozmokinetično gledališče Rdeči pilot, Kozmokinetični kabinet Noordung, Novi kolektivizem. An analysis of her artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 24
- ↑ Naomi Hennig / Viktor Skok (eds.): Exhibition LAIBACH KUNST - Rekapitulacja / Recapitulation 2009. Muzeum Sztuki, Lodz 2009, p. 6
- ↑ Naomi Hennig / Viktor Skok (eds.): Exhibition LAIBACH KUNST - Rekapitulacja / Recapitulation 2009. Muzeum Sztuki, Lodz 2009
- ↑ Archived copy ( memento of the original from December 17, 2015 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. ; accessed on March 30, 2013
- ↑ Inke Arns: IRWIN RETROPRINCIP (exhibition catalog), Revolver / Archive for Current Art, Frankfurt 2003, p. 52 ff.
- ↑ a b c NSK: NSK 1993–1994. NSK Information Center, Ljubljana 1994.
- ↑ LAIBACH: Ljubljana-Zagreb-Beograd, CD booklet, Mute Records, London 1993.
- ^ Sarajevo under Siege and Diplomatic Immunity. In: Mike McGee & Larry Reid: Charles Krafft's "Villa Delirium", Grand Central Press, Santa Ana 2002, pp. 38 ff., 42 ff.
- ↑ LAIBACH: Ljubljana-Zagreb-Beograd, CD booklet, Mute Records, London 1993.
- ↑ Music video The Final Countdown (1994), LAIBACHDVD1, Mute Records 2004
- ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 7 ff.
- ↑ Slavoj Žižek: Why are Laibach and NSK not fascists? quoted from: Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia , Museum Ostdeutsche Galerie, Regensburg 2002, p. 83 ff.
- ↑ Alastair Turner: The Yugoslaw collective New Slovenian Art and Their importance within the context of Yugoslaw and European history. Sheffield, 1988, p. 3; quoted from: Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia , Museum Ostdeutsche Galerie, Regensburg 2002, p. 3.
- ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 168.
- ↑ Peter Vezjak: Bravo - Ljubljana v Filmu. Dallas DOO, Ljubljana 1993.
- ↑ TV Slovenia (SLO2): Otvoritveni concert if Evropskem mesecu kulture
- ↑ Interview with Ivan Novak: Laibach is Rammstein for adults ( Memento from December 13, 2004 in the Internet Archive ). On netzeitung.de from December 6, 2004. Accessed March 3, 2013.
- ^ Webshop Laibach; - ( Memento of the original from March 20, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed March 3, 2013.
- ↑ Website for the exhibition, http://www.laibachkunst.com/ , accessed on March 3, 2013.
- ^ Rainer Schmidt, Torsten Groß: Rammstein: Exclusive interview with Christoph Schneider . In: Rolling Stone , December 2, 2011, accessed March 15, 2013.
- ↑ Peter Richter: Morning exercise at Tiffany's In: Frankfurter Allgemeine Sonntagszeitung No. 50, 2010, p. 27.
- ↑ Interview with Ivan Novak: Laibach is Rammstein for adults ( Memento from December 13, 2004 in the Internet Archive ). On netzeitung.de from December 6, 2004. Accessed March 3, 2013.
- ↑ Various - Schlecht und Ironic - Laibach tribute . Title overview on www.discogs.com.
- ↑ Chart discography Germany
