The world was a different place back in 2006, the last time Slovenia’s Laibach released a new studio album. The iPhone didn’t exist yet, most folks still had MySpace accounts, and Barack Obama was still just some senator from Illinois with a funny name. Into that more innocent era, Laibach unleashed a mindfuck of a record called Volk, which featured grimly Laibach-ian reinventions of national anthems from American, England, China and other global superpowers. For a band that could make even “The Final Countdown” sound like nationalist propaganda to record actual nationalist propaganda was unnerving, to say the least.
Now Laibach’s back with what sounds like another politically charged record: Spectre, an album of original songs about everything from Edward Snowden and Julian Assange (“The Whistleblowers”) to the Arab Spring (“Koran”). It also contains a song, “No History,” that includes “a mini-‘manifesto’ about the album itself, its sonic expression, and the position of the group in relation to its own history,” according to a press release. So for anyone who’s still not sure whether Laibach is actually a bunch of fascists, or just pretending to a be a bunch of fascists, or appropriating fascist iconography to deliver an anti-fascist message…well, you’ll all probably go on arguing about it, anyway.
Spectre will arrive March 3rd in several different packages, including one that includes a 32-page “Party Book” outlining Laibach’s plans to “form an international Party in order to create a possibility for an organised and synchronised international movement, helping to change the world.” You know, typical fan club stuff. The book and CD and/or vinyl also comes with a Spectre logo sticker bearing the slogan, “Fight for Your Right to Party for Your Right to Fight.” We can only hope this means that a Laibach Beastie Boys cover is not far behind.
Speaking of covers…Spectre includes at least two, available only on the CD version of the album. One is Laibach’s take on “See That My Grave Is Kept Clean,” a blues standard by Blind Lemon Jefferson. The other is their whips-and-chains rendition of Serge Gainsbourg’s “Love On the Beat,” which we include here (in a bootlegged live version) for your listening pleasure. Industrial is so sexy.
Oh and did we mention tour dates? Of course there are tour dates. Check ’em out after the clip.
The Spectre of Laibach European Tour:
Mar 06, 2014 CH Luzern – Schüür
Mar 07, 2014 DE Weinheim – Cafe Central
Mar 08, 2014 FR Paris – Trabendo
Mar 10, 2014 BE Leuven – Het Depot
Mar 12, 2014 UK London – Koko
Mar 13, 2014 NL Amsterdam – Melkweg
Mar 14, 2014 DE Köln – Stollwerck
Mar 15, 2014 DE Schorndorf – Manufaktur
Mar 16, 2014 DE München – Technikum
Mar 22, 2014 CN Hong Kong – The Vine
Apr 02, 2014 IT Rome – Orion Club
Apr 03, 2014 IT Trezzo (Milan) – Live Club
Apr 04, 2014 DE Frankfurt am Main – Mousonturm
Apr 05, 2014 DE Dresden -Reithalle
Apr 07, 2014 DE Berlin – Volksbühne
Apr 08, 2014 DE Hamburg- Uebel & Gefährlich
Apr 10, 2014 SE Malmö – Babel
Apr 11, 2014 DE Rostock – Zwischenbau
Apr 12, 2014 PL Poznan – C.K. Zamek
Apr 13, 2014 PL Gdansk – B90
Apr 15, 2014 AT Wien – Arena
Apr 16, 2014 HU Budapest – A38
Apr 17, 2014 CZ Olomouc – Šantovka
Apr 18, 2014 CZ Praha – Archa Theatre
May 09, 2014 HR Zagreb – Tvornica kulture
May 16, 2014 SI Ljubljana – Križanke
Good news for fans Eastern European electro-industrial performance art rock: Laibach have announced the impending arrival of Spectre, their first proper studio album since 2006’s Volk. And this week, you can download three songs off the forthcoming album for free from their website. It’s their gift to you, Laibach fans! Either that, or they’ve secretly been communists this whole time.
A press release from the band’s label, Mute Records, claims that Spectre will be their most overtly political album to date. But based on these three advance tracks, it’s not so much political as observational. On “Eurovision,” for example, Milas Fras growls, “Europe is falling apart”—which is obviously true to anyone who’s been watching the news, but it’s hard to tell whether Milas considers this a tragedy or an awesome excuse to break stuff.
The new EP, called simply S, also features a live cover of Serge Gainsbourg’s “Love on the Beat.” To hear that track, you gotta buy the whole package. If you just want the free shit, hit the Laibach website before Oct. 21st.
Here’s a trailer for Spectre, which is due out February 2014. Clearly, if Milas has to dance, he doesn’t want to be part of your revolution.
Last year, we told you about an amazing indie sci-fi film from Finland called Iron Sky that featured music by military-industrial rockers Laibach and a story about a secret Nazi base on the moon. Well, the film was such an international success that they’ve decided to make a sequel—and this time,
it’s personal they need your help to fund it.
Yes, for Iron Sky: The Coming Race, the filmmakers have taken to the crowdfunding site Indiegogo to raise $150,000 worth of seed money for what they hope will eventually be a $15 million budget (which sounds like a lot but is still about 1/20th what they spent on Iron Man 3). Backers of the film can score such goodies as T-shirts, posters and even a first draft of the script, all the way up to all-access set visits and a speaking role in the trailer. So far they’re still about $110,000 short of their goal, with only 13 days of fundraising left—so pony up, people! (Although, unlike Kickstarter, projects that don’t hit their fundraising goals on Indiegogo get to keep the money—so don’t worry, those crazy Iron Sky kids will be fine even if they fall short.)
According the filmmakers, Laibach is already on board to do the soundtrack, as are the original writers, director and special effects folks. What the storyline will be is anyone’s guess—so far, they’ve just released some mysterious artwork depicting what appears to be some kind of high-tech outpost in the middle of a lush wilderness, with the tag line, “From the ashes of mankind, a new breed of superiority will rise.” Does that mean more Nazis? Or something else? We’ll just have to wait and see.
So head over to Indiegogo to pledge your support, and enjoy the Indiegogo teaser video starring director Timo Vuorensola and some North Korean soldieresses I would not want to mess with.
If you still haven’t submitted yourself to the awesome power of the totalitarian pop/industrial band Laibach, this might finally be your chance. Laibach’s U.K. label, Mute Records, is releasing a compilation of some of Laibach’s most distinctive cover songs, in a collection called An Introduction To… Laibach/Reproduction Prohibited. It’s available now in Europe and the U.K. and arrives here Nov. 6th.
Laibach have become justly famous for their many covers, which are by turns haunting and hilarious, thanks to their Wagnerian arrangements and frontman Milan Fras’s sepulchral growl of a voice. An Introduction to… omits many of Laibach’s most notorious covers, like “Sympathy for the Devil” and “Jesus Christ Superstar,” in favor of more mind-blowing oddities like “Bruderschaft,” an original Laibach tune done in the style of Kraftwerk, and “Geburt Einer Nation,” their nationalist spin on Queen’s “One Vision.” Also included: Laibachanized versions of two Beatles songs, Bob Dylan’s “Ballad of a Thin Man,” and their definitive, epic version of Europe’s “Final Countdown,” which they transform into the mock-operatic techno jam it was always meant to be.
You can watch the trailer for An Introduction to… here, but we’ll leave you with this video to “Final Countdown,” which invites you to become a citizen of NSK, Laibach’s art collective/micronation and self-proclaimed “first global state of the universe.” You used to be able to get an NSK passport online, but they had to stop issuing them because some scam artists in Nigeria were selling them to unsuspecting African nationals looking for ways to emigrate to Europe. And no, even though NSK passports do look convincingly like official travel documents, you can’t actually use them to cross international borders. The awesome power of Laibach is not quite that awesome.
Sometimes here at TWBITW, we like to get on down with our bad selves. And by “bad,” we mean, “in no fit state to be getting on down with anything, unless it’s a couch or a mattress with good lumbar support.” Still, we do try to give the old carcasses a little wiggle every once in awhile. And there’s nothing more fun to wiggle to (or easier, especially for us white folks) than a some good old-fashioned boot-in-a-dryer music. We’re talking techno*, people!
This time around, I’ve decided to annotate the playlist a bit. So read on to learn more about the 14 artists and tracks represented in this mix—and while you’re reading, fire up the ol’ Spotify and see if you’re capable of dancing and reading at the same time. I bet you can do it.
*And related genres of EDM. Don’t get all purist on us, k?
1. The Soft Pink Truth, “Soft Pink Missy.” SPT is Drew Daniel, one-half of the experimental electronic duo Matmos. His stuff is often filed under “microhouse,” all of which sounds pretty weird—but Daniel is especially adept at constructing dance tracks built out of tiny edits from all sorts of sampled material. I figured this was a nice, gentle way to ease y’all into some of the harder stuff coming.
2. The Vegetable Orchestra, “Pumpkin Jam” (Märtini Brös remix). A not-so-weird track, until you realize that most of it was created using instruments made out of vegetables. Märtini Brös, the German duo who did the remix, have created some pretty weird dance tracks of their own, including this one.
3. Greenskeepers, “Man in the House” (GK 911 remix). This Chicago house/electro-pop group makes many songs with a twisted sense of humor, most famously “Lotion,” a bouncy New Wave jam narrated by Buffalo Bill from The Silence of the Lambs. This one isn’t quite that weird, but it’s got a fun beat.
4. Justin Martin and Sammy D, “The Southern Draw.” This one takes awhile to get going, but stay with it, and it gets wacky, trust me. It’s from the Dirtybird label, which releases a lot of terrific, offbeat techno—but nothing more offbeat than this.
5. Oli Chang, “Chicken Techno.” I’m pretty sure this one needs no explanation.
7. Von Südenfed, “Flooded.” A collaboration between the German experimental electronic duo Mouse on Mars and Mark E. Smith from The Fall—who turns out to be a surprisingly excellent dance music vocalist, at least in small doses. No, this isn’t strictly speaking techno, but it fucking rocks. And no, it’s not dubstep, either. Can we all please agree that not everything with a dark, twisted bassline is dubstep? Thank you.
8. Anklepants, “Deadline 4734 vs. Inside Your Face” (Imposex mix). We just featured this guy as our Weird Band of the Week. At first I was mostly just fascinated with his creepily lifelike monster mask, but the more I listen to his music, the more I’m digging it. He’s not really techno either, and I’m not even sure you can dance to this stuff, but it’s amazing.
9. Laibach, “Wirtschaft” (Richie Hawtin Hardcore Noise Mix). One of the greatest techno producers of all time, Richie Hawtin (aka Plastikman), turns one of the weirdest industrial bands of all time into a jam for the ladies. That is, if those ladies like slam-dancing in steel-toed boots.
10. Underworld, “Moaner.” Underworld are one of those bands that became so popular, it’s easy now to forget how totally fucking wackadoodle even many of their best-known tracks are. This isn’t even their wackiest, but I think it’s one of their most underrated, with an insanely building synth line and Karl Hyde declaiming his surrealist raver poetry like a man possessed. God, they were so good back in the day.
11. Matthew Herbert, “February.” A British producer known for building his tracks out of field recordings of everything from bodily functions to household objects, Herbert released his weirdest and most controversial work last year: One Pig, an album of abstract musique concrete built from the sounds of the life cycle of a commercially raised pig, from birth to slaughter to dining table. On this track, from late in the album, you can hear butcher’s saws and the sounds of percussion instruments made out of the pig’s bones. It’s sort of the opposite of Vegetable Orchestra—and while I admit it’s pretty disturbing stuff, it kinda makes you crave bacon, doesn’t it?
12. Gangpol & Mit, “Balatchi Basketcha.” This track is about as close as the French kitschtronica duo G&M ever come to techno—and still, it’s less clubby, more Saturday-morning-cartoony, if Shag ever did Saturday morning cartoons. How awesome would that be?
13. Twink, “Slush Bunny.” Toy piano techno. You’re welcome, humanity!
14. Sir Ivan, “San Francisco” (John Kano radio mix). Yes, is the second playlist we’ve ended with Sir Ivan, but you know what? Fuck it. There’s something about his cheesy house/techno remakes of classic hippie songs that just seems like a fitting grand finale to an hour’s worth of weirdness. Such a strange vibration!
Hope you enjoy the playlist. If you do, tell a friend.
In News of the Awesome: the makers of the Nazi sci-fi comedy Iron Sky have just confirmed that the film has a U.S. distributor, and it will premiere in America on March 10th at the South by Southwest Film Festival in Austin, Texas. The film features music from our favorite Slovenian pop-industrial band Laibach, as well as what appears to be enough eye-popping special effects and Nazi regalia to send sci-fi buffs, History Channel junkies and steampunks alike into a frenzy of anticipation.
Iron Sky‘s premise is ingeniously simple and more fantastically far-fetched than Snakes on a Plane: In 1945, a contingent of Nazis secretly fled Germany to establish a base on the dark side of the moon. By 2018, they’ve built up a big enough fleet of space jets, space zeppelins and jackbooted space soldiers to launch an invasion of America—now led by a very Sarah Palin-like President who thinks the whole thing is actually kinda cool. Which it is, of course.
To support the film, Laibach are embarking on the “We Come in Peace” tour this spring and summer, on which they’ll play portions of the soundtrack as well as older material and some new stuff from two forthcoming albums. So far they’ve only announced a handful of dates in Northern Europe and the U.K., but it sounds like they’ll be adding more—including, we hope, a few American shows.
As you can see, the new Iron Sky poster lists the film’s opening date as April 4th, but we’re not sure if that includes the U.S. It sound like it’ll be coming here soon, though. You can even “demand” that it screen somewhere near you by entering your ZIP code on the film’s official website. I doubt that guarantees anything, but hey, it couldn’t hurt.
We’ll leave you with the film’s official trailer—though if you want to hear more of Laibach’s score, this teaser clip features it more prominently. The music was done in collaboration with Ben Watkins of the electronic group Juno Reactor, but it sounds like pure Laibach to us.
Sorry things have been a little quiet here at TWBITW—it took us longer to sleep off our South by Southwest hangovers than we had anticipated. Also, our ears are still ringing from seeing GWAR. If you’ve never been sonically assaulted by Oderus and co. before in person, seriously—we can’t recommend it highly enough. Just plan on taking a few vacation days after the show—you’ll need them.
Anyway, today’s weird band is another oldie but goodie, and comes to us all the way from the former Yugoslav Republic of Slovenia. Formed in 1980, when Yugoslavia was still under Communist rule, Laibach was a sort of proto-industrial rock band-slash-performance art project that managed to simultaneously celebrate and mock the trappings of totalitarianism in all its forms. They’ve described their own music and iconography as “radically ambiguous” and, judging from the range of responses they’ve gotten, they seem to have succeeded: Detractors and critics (not to mention the censorship-happy Communist regime in Yugoslavia, which frequently banned the group’s performances) have accused them of being fascists, Stalinists, Nazi sympathizers and/or radical Slovenian nationalists, while their fan base seems to include everyone from arty types who treat the band’s militaristic costumes and Wagnerian martial-industrial music as sly satire of fascist/skinhead culture to…well, actual skinheads.
Is all of this starting to sound a little too much like a post-modernist graduate thesis project? Well, not to worry, because here’s the most brilliant thing about Laibach: Much of their music is actually highly accessible, and frequently takes the form of Teutonic/industrial-style covers of familiar pop music. Laibach have tackled everything from the Rolling Stones’ “Sympathy for the Devil” to the Beatles’ “Let It Be” to Europe’s “Final Countdown.” They even did “Jesus Christ Superstar” and an album of national anthems called Volk. If you thought Jimi Hendrix did weird things to “The Star-Spangled Banner,” wait till you hear Laibach’s version of it.
As great as Laibach’s covers can be, their most memorable musical moments tend to come on their original compositions, when the jackboots hit the dance floor and all “Heil!” breaks loose. (Sorry, we couldn’t resist.) Although the “Fear the Kittens” video for this song (courtesy of Rathergood.com) is pretty awesome, it still can’t top the original.
- New Laibach covers compilation coming this November (9/16/12)
- Nazis on the moon! “Iron Sky” sci-fi film featuring the music of Laibach coming soon (2/18/12)
- Weirdify Playlist 8: Covers for Kooks (4/23/12)
(Bonus factoid: Laibach may be the only industrial band to have a winery named after them. Suck on that, Rammstein!)