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WAT
(2003)
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by
Laibach
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Sympathy for the Devil
(1988)
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by
Laibach
Part of Laibach's two-pronged attack on rock & roll via two of its most omnipresent icons -- the Beatles' Let It Be being the other source of ire -- Sympathy for the Devil is indeed a collection of versions of the Rolling Stones song. The weirdly ecstatic shimmer and shake of the original gets demolished and reconstructed thoroughly, Laibach's by ...
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Volk
(2006)
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by
Laibach
A band that uses explicitly fascist symbolism (including Nazi uniforms) as part of its stage presentation is opening itself up to a reasonable question: "Are you Nazis?" And when they respond by saying "We're Nazis the same way Hitler was a painter," then they're opening themselves up to another reasonable question: "Do you mean that you're ...
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Cleopatra Enchantments
(1995)
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by
Various Artists
The usual industrial compilation from Cleopatra includes tracks by Digital Poodle, Die Krupps, Spahn Ranch, Front Line Assembly, Penal Colony and Noise Unit. John Bush, All Music Guide
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Let It Be
(1988)
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by
Laibach
Probably the band's most famous release in the English-speaking world, Laibach's Let It Be -- unlike the Replacements' album -- didn't just name itself after the Beatles' swan song, it full-on covered every last bit of it, with the notable exception of the title track ("Maggie Mae" gets a Slovenian folk tune substituted for it). Having spent some ...
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The Occupied Europe Tour 1985
(1991)
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by
Laibach
Taken from three separate dates on said tour, in Hamburg, London, and the band's home base of Ljubljana, Slovenia, Occupied 1985 Europe Tour demonstrates that, thanks to its early homeland efforts and the accompanying notoriety, the group's punishing, dramatic, and knowingly over-the-top presentation was well-established. The majority of the ...
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NATO
(1994)
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by
Laibach
With the implosion of Yugoslavia well underway (Slovenia thankfully escaped much of the destruction, but it was uncomfortably all too near), Laibach returned to the world of bitterly ironic cover versions with NATO. The critique of that organization's seeming inability to do anything about the Balkan war was implied but clear enough, apparent in ...
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Anthems
(2004)
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by
Laibach
With their albums often based around one concept, this two-disc collection of "anthems" by Laibach is filled with tracks that are best in their original environment, but for a sampler, it's perfect and fans get a fantastic bonus. The two descriptors Laibach dislike the most -- Teutonic and Wagnerian -- best describe the Slovenian band for ...
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Opus Dei
(1987)
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by
Laibach
Having gained a fair amount of underground attention throughout Europe, particularly in both Germany and England, Laibach made its first attempt at crossing over -- in a way -- with Opus Dei. An alliance with Mute records led to Rico Conning handling the production, while the group decided to spell out the connections between mega-arena rock & ...
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M.B. December 21, 1984
(1997)
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by
Laibach
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13 Years of Electronic Lust
(1996)
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by
Various Artists
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Jesus Christ Superstars
(1996)
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by
Laibach
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Macbeth
(1990)
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by
Laibach
Shortly before the Sympathy for the Devil/Let It Be phase of the band's existence, another group of Laibach members was pursuing more explicitly high-art goals, specifically in following up Baptism by providing the soundtrack to another experimental theater production. Said production, an adaptation of Shakespeare's Macbeth, featured two members ...
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Kapital
(1992)
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by
Laibach
Recorded as communism was collapsing in Eastern Europe and while the tensions of the various Yugoslav regions were about to boil over into a brutal, years-long war, Kapital is Laibach's most extensive, longest individual album, a full CD's worth of sharp, pointed songs. Given the economic recession in place at the time -- likely inspiring the ...
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Nova Akropola
(1985)
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by
Laibach
As Laibach took on more and more of a direct musical identity outside Slovenia, as opposed to being seen as simply part of the Neue Slowenische Kunst , the group's music gained a similar focus, though admittedly one still aimed specifically at an avant-garde level. Nova Akropola readily captures the band's stone-faced fascination with propaganda, ...
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Laibach
(1985)
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by
Laibach
Laibach's self-titled 1985 debut was regarded as an early industrial album, you can definitely hear where future alterna-electronic stars (Nine Inch Nails, Prodigy, etc.) learned their stuff. Since the band hailed from a small industrial town in Yugoslavia, it was only natural for their music to reflect their surroundings (look no further than the ...
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Panorama/Die Liebe EP
(1987)
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by
Laibach
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Across the Universe
(1988)
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by
Laibach
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Rekapitulacija 1980-84 [Bonus Tracks]
(2002)
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by
Laibach
Despite their eventual transformation into one of the more entertaining and accessible groups in the industrial underground, the first few years of Laibach's career produced some of the most challenging music ever committed to record. Much like the early work of Einstürzende Neubauten or Throbbing Gristle, this is a very politically motivated form ...
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Neu Konservatiw
(2003)
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by
Laibach
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Industrial Revolution: Third Edition
(1996)
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by
Various Artists
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An Anthology of Noise & Electronic Music, Vol. 2
(2003)
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by
Various Artists
The first volume of this series stirred up some controversy, but the second installment, by remaining true to the same direction, strengthens compiler Guy Marc Hinant's position. Now listeners have a wider angle and can see how inclusive the aim of the series is and how these CDs should be approached the same way one approaches a radio program ...
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Nova Akropola [Cherry Red]
(2002)
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by
Laibach
As Laibach took on more and more of a direct musical identity outside Slovenia, as opposed to being seen as simply part of the Neue Slowenische Kunst , the group's music gained a similar focus, though admittedly one still aimed specifically at an avant-garde level. Nova Akropola readily captures the band's stone-faced fascination with propaganda, ...
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Ambition, Vols. 1-2: The History of Cherry Red Records
(1979)
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by
Various Artists
Cherry Red was a very mixed bag, as this double CD compilation very adequately demonstrates. They hooked up to all kinds of genres, from airy folk to grinding punk to the twiddliest of synth pop; Cherry Red gave a British home to Dead Kennedys, Thomas Leer, the Runaways, even, at one point, Kevin Coyne. It's entirely possible that the sheer ...
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In the Army Now/War
(1995)
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by
Laibach
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