Laibach has also recorded film soundtracks, theatre music, produced works of visual arts, and band members have embarked on a number of side projects. Read more The parallel is regularly made between the bands regarding their aesthetics and deep male vocals both groups share and with their respective backgrounds of originating from former socialist countries. In the same interview the keyboard player of Rammstein Christian Lorenz drew a parallel between the deep voices of Till Lindemann and Milan Fras but considered this to be the only similarity between the two music groups.
This, and the early promotional material for the film [4] suggest that it was Paul Landers who was to appear in the film, thus to some extent confirming the connection between these two music groups. When members of Laibach were asked by an interviewer about Rammstein "stealing" from them, they responded: "Laibach does not believe in originality Therefore, Rammstein could not 'steal' much from us.
They simply let themselves get inspired by our work, which is absolutely a legitimate process. We are glad that they made it. In a way, they have proven once again that a good 'copy' can make more money on the market than the 'original'. Anyhow, today we share the territory: Rammstein seem to be a kind of Laibach for adolescents and Laibach are Rammstein for grown-ups. The more the real power of global capital grows individual states cling more desperately to their national symbols.
NSK and Laibach underscored all this, making evident that Nazi-fascism had never been conquered on the symbolical level. National states are left holding the symbols of authority as empty signifiers of a bygone era. Since then, the NSK State in Time has issued passports, had its own visual identity and symbols, opened embassies and consulates in countries all over the world, and has far surpassed the Vatican in the number of citizens.
Members of Laibach were among the first holders of its passport. Laibach transformed even love, the major signifier of pop ideology, into a demonic totalitarian force, resurrecting past terrors as a retroactive warning of things to come. Laibach was formed on 1 June in the small industrial town of Trbovlje.
Laibach returned to the industrial era and used its almost archaic iconography to deconstruct the post-industrial nature of both socialism and capitalism, as well as that of the contemporary cultural industry. According to the practice of contemporary industrial music bands, in their early works they used sounds and images as tools to provoke fear and fascination. With Laibach, industry appeared as a specter from a nightmarish, archetypal past, rather than the promise of a gleaming technocratic future.
These videos received extensive airplay on TV channels, establishments which Laibach would both benefit from, and attack in their work. But if it is really true that that guy Milan Fras, lead singer is going to be singing The Sound of Music — I kind of want to go there.
The name Laibach first appeared in as the original name of Ljubljana, capital of Slovenia, then in the era of the Austrian Hungarian monarchy, and finally in , at the time of the German occupation of Yugoslavia. They staged a controversial appearance, after which the host journalist successfully called for a political lynching of the group. After the break-up of Yugoslavia in 3 , Laibach continued mostly within the realm of popular music, while remaining a point of reference in terms of artistic cultural criticism.
During recent years the group underwent an international re-evaluation of their artistic practice in the course of an emergence of post-structuralist views on worldwide conceptual art production. Laibach was formed in shortly after the death of Marshal Josip Broz Tito 4 , the Yugoslavian post-war leader who had spent his political career establishing the principles of non-alignment within the 3 rd , 2 nd and 1 st world and especially within communism.
His death initiated a period of uncertainty in Yugoslavia, resulting in power struggles between conservative nationalist hard-liners and more liberal politicians; a period, which saw struggles and disagreements between the different republics constituting Yugoslavia. They announced their formation and activities through poster campaigns around the Slovene cities of Trbovlje and Ljubljana, utilizing elements of National Socialism and Socialist Realism propaganda imagery coupled with partisan folk art to create a startling effect.
Confronted by these powerful images and the fact that Laibach is actually the German name for Ljubljana 5 , Slovenes were forcefully reminded of their own wartime past under the Nazi and Italian occupation during World War Two.
Hailing from the small city of Trbovlje Dressed in stark black and grey mainly Yugoslav army uniforms, Laibach performed ferocious noise assaults before a backdrop of totalitarian regalia and wartime slides with political speeches from Tito, Jaruzelski, Mussolini, and others spliced into the mix. Although bleeding from a facial wound he showed no reaction and the photograph of the wounded Hostnik is now one of the most iconic Laibach images.
Determined to continue the work that Hostnik had helped to begin, in June , the group made their first television appearance in an interview on the current affairs programme TV Tednik TV Weekly Their flirtation with such controversial imagery once again revealed uncomfortable similarities between Fascist and Socialist Realist iconography; similarities which instantly posed questions about the freedom of the media and the message.
Members of the group still use these pseudonyms and avoid the use of their individual names. However their desire to agitate regularly created problems for them as the group discovered when the Czechoslovakian authorities refused to allow them into their country. In Poland they were branded as communists and elsewhere in Europe were suspected of being fascists, but these controversies successfully sparked wider interest in their musical output.
December 21, CD before co-founding Neue Slowenische Kunst New Slovenian Art , a guerrilla art collective and movement, created from the union of three groups, namely Laibach, Irwin — the visual artists collective — and the Scipion Nasice Theatre. This alliance was spurred on by radical politics and their desire to challenge the contradictions of the status quo in their homeland and beyond. This prompted the formation of a number of NSK sub-groups working in various media but always revolving around the main three.
Neue Slowenische Kunst ceased to exist between and , but the somewhat utopian project of the NSK State in Time, proclaimed in , still continues till today, carried out by separate groups and diverse citizens of the state. The ban on the use of their name meant that the record sleeve only carried an image of their now distinctive black cross symbol but it was to be the first of many albums they would release on a variety of labels around the world.
Their songs were rich in sly irony but were delivered with the straightest of faces.
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