Laibach - Revision history

Ostalocutanje: Corrected Jani Novak's role in the band

2024-11-09T16:06:23Z

Corrected Jani Novak's role in the band

← Previous revision		Revision as of 16:06, 9 November 2024
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	Early Laibach albums were industrial-oriented, marked by heavy rhythms and roaring vocals. Later in the mid-1980s, their sound became more richly layered, featuring samples from [[Pop music\|pop]] and [[classical music]]. The band's lyrics, variously written in Slovene, German and English, are usually delivered by the deep [[bass (voice type)\|bass]] vocals of the singer Milan Fras. Initially the lyrics handled war and military themes; later, the focus turned to any highly charged political issue of the moment, sending intentionally ambiguous messages. They recorded a number of cover versions of popular songs, often turning light melodies into sinister-sounding [[gothic music\|gothic]] tunes.		Early Laibach albums were industrial-oriented, marked by heavy rhythms and roaring vocals. Later in the mid-1980s, their sound became more richly layered, featuring samples from [[Pop music\|pop]] and [[classical music]]. The band's lyrics, variously written in Slovene, German and English, are usually delivered by the deep [[bass (voice type)\|bass]] vocals of the singer Milan Fras. Initially the lyrics handled war and military themes; later, the focus turned to any highly charged political issue of the moment, sending intentionally ambiguous messages. They recorded a number of cover versions of popular songs, often turning light melodies into sinister-sounding [[gothic music\|gothic]] tunes.

	The band has seen numerous line-up changes, with Milan Fras (vocals), [[Dejan Knez]] (bass guitar, keyboads, drums), Ervin Markošek (drums, keyboards, electronics) and Ivan "Jani" Novak (~~concept~~) forming the best-known line-up. They have worked with a number of collaborators and guest musicians. During their career, Laibach have also recorded film and theatre music and produced works of visual arts, while the band members have embarked on a number of side projects.		The band has seen numerous line-up changes, with Milan Fras (vocals), [[Dejan Knez]] (bass guitar, keyboads, drums), Ervin Markošek (drums, keyboards, electronics) and Ivan "Jani" Novak (stage effects) forming the best-known line-up. They have worked with a number of collaborators and guest musicians. During their career, Laibach have also recorded film and theatre music and produced works of visual arts, while the band members have embarked on a number of side projects.

	==History==		==History==
	===The beginnings: Laibach with Tomaž Hostnik (1980–1982)===		===The beginnings: Laibach with Tomaž Hostnik (1980–1982)===
	Laibach evolved from the band Salto Mortale, formed by [[Dejan Knez]] in 1978 in a [[mining industry]] town of [[Trbovlje]].<ref name="Janjatović169">{{harvnb\|Janjatović\|2024\|p=169}}</ref> Laibach was officially formed on 1 June 1980.<ref name="Janjatović169"/> The members chose 1 June as the official date of the band's formation as it was Trbovlje's official holiday,<ref name="Janjatović169"/> marking the 1924 violent clashes between Trbovlje workers and the [[Organization of Yugoslav Nationalists]].<ref name="megla216">{{cite book\|last=Megla\|first=Maja\|title=Leksikon YU mitologije\|year=2015\|publisher=Rende – Postscriptum\|location=Belgrade – Zagreb\|page=216}}</ref> The name ''Laibach'', adopted after a suggestion from Knez's father, famous painter Janez Knez,<ref name="Janjatović169"/> is the [[German language]] name of the Slovenian capital [[Ljubljana]], a name used during the period when Slovenia was a part of the [[Habsburg monarchy]], as well as during the [[Invasion of Yugoslavia\|World War II occupation of Yugoslavia]].<ref name="Janjatović169"/> Initially, the members of the band did not reveal their names; it was later revealed that during the initial phases of Laibach's career the band consisted of Dejan Knez (bass guitar, keyboards, drums, [[megaphone]]), Tomaš Hostnik (vocals), Ivan "Jani" Novak (~~concept~~, credited as "[[Engineers of the human soul\|engineer of the human soul]]"), Andrej Lupinc (bass guitar), Srećko Bajda (synthesizer), Marko Košnik (synthesizer) and Marjan Benčina (synthesizer).<ref name="Janjatović169"/> In later interviews, the members stated that the band formation was sparked off by the suicide of [[Joy Division]] vocalist [[Ian Curtis]], the death of Yugoslav president [[Josip Broz Tito]] and the beginning of dissolution of Yugoslavia.<ref name="Janjatović169"/>		Laibach evolved from the band Salto Mortale, formed by [[Dejan Knez]] in 1978 in a [[mining industry]] town of [[Trbovlje]].<ref name="Janjatović169">{{harvnb\|Janjatović\|2024\|p=169}}</ref> Laibach was officially formed on 1 June 1980.<ref name="Janjatović169"/> The members chose 1 June as the official date of the band's formation as it was Trbovlje's official holiday,<ref name="Janjatović169"/> marking the 1924 violent clashes between Trbovlje workers and the [[Organization of Yugoslav Nationalists]].<ref name="megla216">{{cite book\|last=Megla\|first=Maja\|title=Leksikon YU mitologije\|year=2015\|publisher=Rende – Postscriptum\|location=Belgrade – Zagreb\|page=216}}</ref> The name ''Laibach'', adopted after a suggestion from Knez's father, famous painter Janez Knez,<ref name="Janjatović169"/> is the [[German language]] name of the Slovenian capital [[Ljubljana]], a name used during the period when Slovenia was a part of the [[Habsburg monarchy]], as well as during the [[Invasion of Yugoslavia\|World War II occupation of Yugoslavia]].<ref name="Janjatović169"/> Initially, the members of the band did not reveal their names; it was later revealed that during the initial phases of Laibach's career the band consisted of Dejan Knez (bass guitar, keyboards, drums, [[megaphone]]), Tomaš Hostnik (vocals), Ivan "Jani" Novak (stage effects, credited as "[[Engineers of the human soul\|engineer of the human soul]]"), Andrej Lupinc (bass guitar), Srećko Bajda (synthesizer), Marko Košnik (synthesizer) and Marjan Benčina (synthesizer).<ref name="Janjatović169"/> In later interviews, the members stated that the band formation was sparked off by the suicide of [[Joy Division]] vocalist [[Ian Curtis]], the death of Yugoslav president [[Josip Broz Tito]] and the beginning of dissolution of Yugoslavia.<ref name="Janjatović169"/>

	Since its formation, Laibach had been preparing a [[Multimedia art\|multimedia]] project ''Rdeči revirji'' (''Red District''), a piece intended to challenge and provoke the current political authorities in Trbovlje.<ref name="Janjatović169"/> The project was scheduled to be presented in the Workers' Hall in Trbovlje.<ref name="megla216"/> However, the group's use of [[Kazimir Malevich\|Kazimir Malevich's black crosses]] on their posters was determined by the authorities to be "improper and irresponsible", leading to considerable negative reaction in the media and the cancellation of the performance of ''Red District''.<ref name="Janjatović169"/>		Since its formation, Laibach had been preparing a [[Multimedia art\|multimedia]] project ''Rdeči revirji'' (''Red District''), a piece intended to challenge and provoke the current political authorities in Trbovlje.<ref name="Janjatović169"/> The project was scheduled to be presented in the Workers' Hall in Trbovlje.<ref name="megla216"/> However, the group's use of [[Kazimir Malevich\|Kazimir Malevich's black crosses]] on their posters was determined by the authorities to be "improper and irresponsible", leading to considerable negative reaction in the media and the cancellation of the performance of ''Red District''.<ref name="Janjatović169"/>
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	===Current touring band===		===Current touring band===
	* Milan Fras – vocals		* Milan Fras – vocals
	* Ivan "Jani" Novak – bandleader, ~~light~~ ~~show~~		* Ivan "Jani" Novak – bandleader, stage effects
	* Marina Mårtensson - vocals, acoustic guitar		* Marina Mårtensson - vocals, acoustic guitar
	* Vitja Balžalorsky – guitar		* Vitja Balžalorsky – guitar

Ostalocutanje: /* Legacy, influence and innovation */

2024-11-09T15:35:52Z

Legacy, influence and innovation

← Previous revision		Revision as of 15:35, 9 November 2024
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	==Legacy, influence and innovation==		==Legacy, influence and innovation==
			Despite emerging on the rich and vibrant [[Yugoslav rock scene]], Laibach is widely considered to be the only Yugoslav band to achieve large popularity in Western Europe during the existence of SFR Yugoslavia.<ref name="Janjatović171"/> The band has influenced a number of acts, has been paid tribute by several projects and has been a subject of several books and documentary films.

	===Tributes===		===Tributes===
	In 1999, a tribute album to Laibach entitled ''Schlecht und Ironisch – Laibach Tribut'' (''Bad and Ironic – Laibach Tribute'') was released.<ref>{{cite web \|url=http://www.discogs.com/Various-Schlecht-Und-Ironisch-Laibach-Tribut/release/466365 \|title=Various – Schlecht Und Ironisch – Laibach Tribut (CD, Comp) at Discogs \|website=Discogs.com \|access-date=6 November 2009 \|archive-date=2 September 2009 \|archive-url=https://web.archive.org/web/20090902051217/http://www.discogs.com/Various-Schlecht-Und-Ironisch-Laibach-Tribut/release/466365 \|url-status=live }}</ref> Canadian [[industrial metal\|industrial]] [[doom metal]] band [[Zaraza]] released a Laibach tribute EP entitled ''Montrealska Akropola – A Tribute to Laibach'' (''[[Montreal]] Acropolis – A Tribute to Laibach'') in 2004.<ref name="Janjatović172">{{harvnb\|Janjatović\|2024\|p=170-172}}</ref>		In 1999, a tribute album to Laibach entitled ''Schlecht und Ironisch – Laibach Tribut'' (''Bad and Ironic – Laibach Tribute'') was released.<ref>{{cite web \|url=http://www.discogs.com/Various-Schlecht-Und-Ironisch-Laibach-Tribut/release/466365 \|title=Various – Schlecht Und Ironisch – Laibach Tribut (CD, Comp) at Discogs \|website=Discogs.com \|access-date=6 November 2009 \|archive-date=2 September 2009 \|archive-url=https://web.archive.org/web/20090902051217/http://www.discogs.com/Various-Schlecht-Und-Ironisch-Laibach-Tribut/release/466365 \|url-status=live }}</ref> Canadian [[industrial metal\|industrial]] [[doom metal]] band [[Zaraza]] released a Laibach tribute EP entitled ''Montrealska Akropola – A Tribute to Laibach'' (''[[Montreal]] Acropolis – A Tribute to Laibach'') in 2004.<ref name="Janjatović172">{{harvnb\|Janjatović\|2024\|p=170-172}}</ref>
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	===Rankings===		===Rankings===
	Laibach album ''[[Sympathy for the Devil (album)\|Sympathy for the Devil]]'' was proclaimed in 2006 the 7th on ''[[The Mail on Sunday]]'' list of Ten Greatest ~~Trbute~~ Albums of All Time.<ref name="Janjatović172"/> The album ''[[Opus Dei (album)\|Opus Dei]]'' was included in 2008 in the book ''[[1001 Albums You Must Hear Before You Die]]''.<ref name="Janjatović172"/> The same album was polled in 2015 as the 86th on the list of 100 Greatest Yugoslav Albums published by the Croatian edition of ''[[Rolling Stone]]''.<ref name="rollingstone84">{{cite magazine\|title=Rolling Stone – Specijalno izdanje: 100 najboljih albuma 1955 – 2015\|magazine=Rolling Stone\|publisher=S3 Mediji\|location=Zagreb\|issue=Special edition\|pages=84\|language=hr}}</ref>		Laibach album ''[[Sympathy for the Devil (album)\|Sympathy for the Devil]]'' was proclaimed in 2006 the 7th on ''[[The Mail on Sunday]]'' list of Ten Greatest Tribute Albums of All Time.<ref name="Janjatović172"/> The album ''[[Opus Dei (album)\|Opus Dei]]'' was included in 2008 in the book ''[[1001 Albums You Must Hear Before You Die]]''.<ref name="Janjatović172"/> The same album was polled in 2015 as the 86th on the list of 100 Greatest Yugoslav Albums published by the Croatian edition of ''[[Rolling Stone]]''.<ref name="rollingstone84">{{cite magazine\|title=Rolling Stone – Specijalno izdanje: 100 najboljih albuma 1955 – 2015\|magazine=Rolling Stone\|publisher=S3 Mediji\|location=Zagreb\|issue=Special edition\|pages=84\|language=hr}}</ref>

	===Books and documentaries===		===Books and documentaries===

IvanScrooge98: +audio

2024-11-07T21:24:36Z

+audio

← Previous revision		Revision as of 21:24, 7 November 2024
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	}}		}}

	'''Laibach''' ({{IPA\|de\|ˈlaɪbax}}) is a [[Slovenia]]n and [[SFR Yugoslavia\|Yugoslav]] [[avant-garde music]] group associated with the [[industrial music\|industrial]], [[Martial industrial\|martial]], and [[Neoclassical dark wave\|neo-classical]] genres. Formed in 1980 in the [[mining town]] of [[Trbovlje]], Slovenia, at the time a constituent republic within [[Socialist Federal Republic of Yugoslavia]], Laibach represents the musical wing of the [[Neue Slowenische Kunst]] (NSK) [[art collective]], a group which Laibach co-founded in 1984.		'''Laibach''' ({{IPA\|de\|ˈlaɪbax\|-\|de-Laibach.ogg}}) is a [[Slovenia]]n and [[SFR Yugoslavia\|Yugoslav]] [[avant-garde music]] group associated with the [[industrial music\|industrial]], [[Martial industrial\|martial]], and [[Neoclassical dark wave\|neo-classical]] genres. Formed in 1980 in the [[mining town]] of [[Trbovlje]], Slovenia, at the time a constituent republic within [[Socialist Federal Republic of Yugoslavia]], Laibach represents the musical wing of the [[Neue Slowenische Kunst]] (NSK) [[art collective]], a group which Laibach co-founded in 1984.

	From the early days, the band was subject to controversies and bans due to their use of iconography with parodies and [[pastiches]] of elements from [[totalitarianism]], [[nationalism]] and [[militarism]], a concept they have preserved throughout their career. Censored in Yugoslavia, receiving a [[dissident]] status and a [[cult following]] in their home country, the band embarked on international tours and gradually acquired international fame, which led to wider acceptance by Yugoslav public and to attention of the country's mainstream media. After Slovenia became independent in 1991, Laibach's status in the country has turned from rejection by a part of the public to promotion into a national cultural icon.		From the early days, the band was subject to controversies and bans due to their use of iconography with parodies and [[pastiches]] of elements from [[totalitarianism]], [[nationalism]] and [[militarism]], a concept they have preserved throughout their career. Censored in Yugoslavia, receiving a [[dissident]] status and a [[cult following]] in their home country, the band embarked on international tours and gradually acquired international fame, which led to wider acceptance by Yugoslav public and to attention of the country's mainstream media. After Slovenia became independent in 1991, Laibach's status in the country has turned from rejection by a part of the public to promotion into a national cultural icon.

Ostalocutanje: /* Members */

2024-11-07T15:50:18Z

Members

← Previous revision		Revision as of 15:50, 7 November 2024
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	[[File:Laibach, Ivan Novak, Oslo, 2017.jpg\|thumb\|upright=1.2\|right\|Ivan "Jani" Novak in 2017. Novak has been Laibach member since the beginning of the group's career and the leader of the band since the departure of the band's forming member Dejan Knez in 2003. Credited as "[[Engineers of the human soul\|engineer of the human soul]]", Novak is the spokesperson for Laibach and does not appear on stage during live performances.]]		[[File:Laibach, Ivan Novak, Oslo, 2017.jpg\|thumb\|upright=1.2\|right\|Ivan "Jani" Novak in 2017. Novak has been Laibach member since the beginning of the group's career and the leader of the band since the departure of the band's forming member Dejan Knez in 2003. Credited as "[[Engineers of the human soul\|engineer of the human soul]]", Novak is the spokesperson for Laibach and does not appear on stage during live performances.]]
	[[File:Laibach Spectre Tour 2014 Koeln 2014 03 14 Milan Fras.jpg\|thumb\|upright=1.2\|right\|Milan Fras in concert in 2014. Fras has been Laibach lead vocalist since the death of the group's original frontman Tomaž Hostnik in 1982.]]		[[File:Laibach Spectre Tour 2014 Koeln 2014 03 14 Milan Fras.jpg\|thumb\|upright=1.2\|right\|Milan Fras in concert in 2014. Fras has been Laibach lead vocalist since the death of the group's original frontman Tomaž Hostnik in 1982.]]
	[[File:20160406 Bochum Laibach 0729.jpg\|thumb\|upright=1.2\|right\|Mina Špiler in concert 2016. Špiler performed with Laibach as keyboardist and vocalist from 2006 to 2018.]]		[[File:20160406 Bochum Laibach 0729.jpg\|thumb\|upright=1.2\|right\|Mina Špiler in concert in 2016. Špiler performed with Laibach as keyboardist and vocalist from 2006 to 2018.]]
	Laibach evolved from the band Salto Mortale, formed in 1978 by [[Dejan Knez]].<ref name="Janjatović169"/> The first incarnation of Laibach formed in 1980 included Dejan Knez, Tomaž Hostnik, Srečko Bajda, Andrej Lupinc, and Marko Košnik. Soon after that, Knez's relative Ivan "Jani" Novak and Milan Fras joined the band. First a quintet, Laibach quickly became a quartet and declared that the group had four members: "Vier Personen".		Laibach evolved from the band Salto Mortale, formed in 1978 by [[Dejan Knez]].<ref name="Janjatović169"/> The first incarnation of Laibach formed in 1980 included Dejan Knez, Tomaž Hostnik, Srečko Bajda, Andrej Lupinc, and Marko Košnik. Soon after that, Knez's relative Ivan "Jani" Novak and Milan Fras joined the band. First a quintet, Laibach quickly became a quartet and declared that the group had four members: "Vier Personen".

Ostalocutanje: /* Aesthetics, image and controversy */

2024-11-07T15:45:50Z

Aesthetics, image and controversy

← Previous revision		Revision as of 15:45, 7 November 2024
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	At the early stage of their career, Laibach's visuals employed [[socialist realism\|socialist realist]] mining iconography,<ref name="Janjatović169"/> and later the band incorporated, alongside influences from socialist realism, influences from [[Art in Nazi Germany\|Nazi art]] and [[Futurism\|Italian futurism]] to their imagery.<ref name="Janjatović170"/> On their early promotional posters the band used black crosses from the works of [[Russian avant-garde]] painter [[Kazimir Malevich]],<ref name="Janjatović169"/> later incorporating a black cross into their logo, consisting of a cross encircled with a gear.<ref name="Janjatović169"/> In the mid-1980s, when the usage of the name Laibach was banned in Yugoslavia, the group used posters with black crosses without band name to advertise their performances,<ref>{{cite web \|url=http://www.artmargins.com/content/review/griffin.html \|title=A R T M a r g i n s - Winifred M. Griffin: Review of'' Laibach ''and Irwin \|access-date=22 April 2007 \|url-status=dead \|archive-url=https://web.archive.org/web/20070312073938/http://www.artmargins.com/content/review/griffin.html \|archive-date=12 March 2007 }}</ref> and their debut album was released with the black cross and without any text on the cover.<ref name="Janjatović171"/> Cross imagery, and variations on the cross are apparent in many Laibach recordings and publications. Some Laibach releases feature artwork by the [[Communism\|communist]] and early [[Dada]] artist [[John Heartfield]].<ref name="Janjatović171"/> The usage of Heartfield's anti-Nazi work depicting swastika consisting of four bloodied axes on the inner sleeve of the album ''[[Opus Dei (album)\|Opus Dei]]'' caused controversies in some European countries.<ref name="Janjatović171"/>		At the early stage of their career, Laibach's visuals employed [[socialist realism\|socialist realist]] mining iconography,<ref name="Janjatović169"/> and later the band incorporated, alongside influences from socialist realism, influences from [[Art in Nazi Germany\|Nazi art]] and [[Futurism\|Italian futurism]] to their imagery.<ref name="Janjatović170"/> On their early promotional posters the band used black crosses from the works of [[Russian avant-garde]] painter [[Kazimir Malevich]],<ref name="Janjatović169"/> later incorporating a black cross into their logo, consisting of a cross encircled with a gear.<ref name="Janjatović169"/> In the mid-1980s, when the usage of the name Laibach was banned in Yugoslavia, the group used posters with black crosses without band name to advertise their performances,<ref>{{cite web \|url=http://www.artmargins.com/content/review/griffin.html \|title=A R T M a r g i n s - Winifred M. Griffin: Review of'' Laibach ''and Irwin \|access-date=22 April 2007 \|url-status=dead \|archive-url=https://web.archive.org/web/20070312073938/http://www.artmargins.com/content/review/griffin.html \|archive-date=12 March 2007 }}</ref> and their debut album was released with the black cross and without any text on the cover.<ref name="Janjatović171"/> Cross imagery, and variations on the cross are apparent in many Laibach recordings and publications. Some Laibach releases feature artwork by the [[Communism\|communist]] and early [[Dada]] artist [[John Heartfield]].<ref name="Janjatović171"/> The usage of Heartfield's anti-Nazi work depicting swastika consisting of four bloodied axes on the inner sleeve of the album ''[[Opus Dei (album)\|Opus Dei]]'' caused controversies in some European countries.<ref name="Janjatović171"/>

	The visual imagery of Laibach's art has been described as "radically ambiguous".<ref name="monroe76">{{cite book\|last=Monroe\|first=Alexei\|title=Interrogation Machine: Laibach and NSK\|year=2005\|publisher=MIT Press\|location=\|page=76}}</ref> An early example of this ambiguity would be the woodcut entitled ''The Thrower'', also known as ''Metalec'' (''The Metal Worker''). This work features a monochrome silhouette of a figure with a clenched fist holding a hammer aloft. The work could be seen both as promoting industrial protest or as a symbol of industrial pride. Another aspect of this woodcut is the large typefaced word ''LAIBACH'', evoking memories of the Nazi occupation of Slovenia. This piece was featured prominently during the band's 1983 interview for ''TV tednik''.<ref name="monroe161">{{cite book\|last=Monroe\|first=Alexei\|title=Interrogation Machine: Laibach and NSK\|year=2005\|publisher=MIT Press\|location=\|page=161}}</ref>		The visual imagery of Laibach's art has been described as "radically ambiguous".<ref name="monroe76">{{cite book\|last=Monroe\|first=Alexei\|title=Interrogation Machine: Laibach and NSK\|year=2005\|publisher=MIT Press\|location=\|page=76}}</ref> An early example of this ambiguity would be the [[woodcut]] entitled ''The Thrower'', also known as ''Metalec'' (''The Metal Worker''). This work features a monochrome silhouette of a figure with a clenched fist holding a hammer aloft. The work could be seen both as promoting industrial protest or as a symbol of industrial pride. Another aspect of this woodcut is the large typefaced word ''LAIBACH'', evoking memories of the Nazi occupation of Slovenia. This piece was featured prominently during the band's 1983 interview for ''TV tednik''.<ref name="monroe161">{{cite book\|last=Monroe\|first=Alexei\|title=Interrogation Machine: Laibach and NSK\|year=2005\|publisher=MIT Press\|location=\|page=161}}</ref>

	Laibach has frequently been accused of both [[far left]] and [[far right]] political stances due to their use of uniforms and [[totalitarian]]-style [[aesthetics]]. They were also accused of being [[neo-nationalism\|neo-nationalists]]. When confronted with such accusations, Laibach is quoted as replying with the ambiguous response "We are [[fascist]]s as much as [[Paintings by Adolf Hitler\|Hitler was a painter]]".<ref name="VH1">{{cite web\|url=http://www.vh1.com/artists/az/laibach/bio.jhtml\|archive-url=https://web.archive.org/web/20040612193631/http://www.vh1.com/artists/az/laibach/bio.jhtml\|url-status=dead\|archive-date=12 June 2004\|website=VH1.com\|title=Laibach Biography\|access-date = 22 April 2007}}</ref> Laibach concerts have sometimes aesthetically appeared as political rallies, and the members of Laibach are notorious for rarely stepping out of character. When interviewed, they often answer in wry manifestos, showing a paradoxical lust for, and condemnation of, authority.<ref name="VH1"/>		Laibach has frequently been accused of both [[far left]] and [[far right]] political stances due to their use of uniforms and [[totalitarian]]-style [[aesthetics]]. They were also accused of being [[neo-nationalism\|neo-nationalists]]. When confronted with such accusations, Laibach is quoted as replying with the ambiguous response "We are [[fascist]]s as much as [[Paintings by Adolf Hitler\|Hitler was a painter]]".<ref name="VH1">{{cite web\|url=http://www.vh1.com/artists/az/laibach/bio.jhtml\|archive-url=https://web.archive.org/web/20040612193631/http://www.vh1.com/artists/az/laibach/bio.jhtml\|url-status=dead\|archive-date=12 June 2004\|website=VH1.com\|title=Laibach Biography\|access-date = 22 April 2007}}</ref> Laibach concerts have sometimes aesthetically appeared as political rallies, and the members of Laibach are notorious for rarely stepping out of character. When interviewed, they often answer in wry manifestos, showing a paradoxical lust for, and condemnation of, authority.<ref name="VH1"/>
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	British musician and journalist [[Richard Wolfson (musician)\|Richard Wolfson]] wrote of the group:		British musician and journalist [[Richard Wolfson (musician)\|Richard Wolfson]] wrote of the group:

	{{quote\|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 [[European Union\|EU]], the analogies between Western [[democracy]] and [[totalitarianism]].<ref>Richard Wolfson, [https://www.telegraph.co.uk/culture/music/rockandjazzmusic/3601856/Warriors-of-weirdness.html "Warriors of weirdness"] {{Webarchive\|url=https://web.archive.org/web/20220205093612/https://www.telegraph.co.uk/culture/music/rockandjazzmusic/3601856/Warriors-of-weirdness.html \|date=5 February 2022 }}, ''[[The Daily Telegraph]]'', 4 September 2003</ref>}}		{{quote\|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 [[European Union\|EU]], the analogies between Western [[democracy]] and totalitarianism.<ref>Richard Wolfson, [https://www.telegraph.co.uk/culture/music/rockandjazzmusic/3601856/Warriors-of-weirdness.html "Warriors of weirdness"] {{Webarchive\|url=https://web.archive.org/web/20220205093612/https://www.telegraph.co.uk/culture/music/rockandjazzmusic/3601856/Warriors-of-weirdness.html \|date=5 February 2022 }}, ''[[The Daily Telegraph]]'', 4 September 2003</ref>}}

	Slovenian philosopher [[Slavoj Žižek]] stated about the group after their performance in North Korea:		Slovenian philosopher [[Slavoj Žižek]] stated about the group after their performance in North Korea:

	{{quote\|Quite often libertarian ~~leftists~~ were embarrassed by Laibach. On the one hand, of course, they had to support Laibach. But they were very uneasy about how to take Laibach. Their primordial fear—which is for me the first sign that they didn't understand anything about Laibach—was to claim that Laibach is a great ironic spectacle of subtly mocking, making fun of authority and so on. But then, almost always in my experience—I experienced this with my leftist friends—they added a worry: "What if people will not get it properly, what if people would take Laibach too seriously and perceive, or rather mispercieve, what is their ironic spectacle as real celebration of totalitarianism?" No, I think things are much more complex. Laibach is not simply making fun of totalitarianism. Laibach is bringing out the authoritarian feature which is present in most societies, even in the most democratic societies. [...] I think that Laibach is deeply aware [...] of this deep ambiguity of even the most democratic power. And they are trying to bring this authoritarian streak out even with a certain open fascination. There is no distance there. They are not making fun of it. They are openly enjoying it. So that's the traumatic message of Laibach: staging the real of power. [...] Usual left liberal critics or public of Laibach, they are reading Laibach along the lines of this standard humanist gap, searching behind the strict, totalitarian mask of Laibach for warm, humane persons. They want to find behind the mask of Laibach—all this low bass industrial totalitarian music—this guarantee: "Don't be afraid, behind this mask they are just ordinary warm people like ourselves." No, the message of Laibach is just the opposite one. It's not: "Don't be afraid, beneath our totalitarian mask we are warm, normal, compassionate people like you". No, it's—even if we look at our everyday life in the West, like normal, compassionate people, all the disgusting spectacles that we are doing in the West, charity, helping others and so on—we are really what we play to be. We are monsters, there is no humanity behind it. So, you see, it's not about North Korea. You will not learn a lot from Laibach about North Korea. You will learn a lot about our own anxieties and hypocrisies.<ref>[https://www.youtube.com/watch?v=NRfgKrmI9Po "Slavoj Žižek introducing: Laibach in North Korea"] {{Webarchive\|url=https://web.archive.org/web/20230819132825/https://www.youtube.com/watch?v=NRfgKrmI9Po \|date=19 August 2023 }}, ''[[YouTube]]'', 4 September 2003</ref>}}		{{quote\|Quite often [[libertarian left]]ists were embarrassed by Laibach. On the one hand, of course, they had to support Laibach. But they were very uneasy about how to take Laibach. Their primordial fear—which is for me the first sign that they didn't understand anything about Laibach—was to claim that Laibach is a great ironic spectacle of subtly mocking, making fun of authority and so on. But then, almost always in my experience—I experienced this with my leftist friends—they added a worry: "What if people will not get it properly, what if people would take Laibach too seriously and perceive, or rather mispercieve, what is their ironic spectacle as real celebration of totalitarianism?" No, I think things are much more complex. Laibach is not simply making fun of totalitarianism. Laibach is bringing out the authoritarian feature which is present in most societies, even in the most democratic societies. [...] I think that Laibach is deeply aware [...] of this deep ambiguity of even the most democratic power. And they are trying to bring this authoritarian streak out even with a certain open fascination. There is no distance there. They are not making fun of it. They are openly enjoying it. So that's the traumatic message of Laibach: staging the real of power. [...] Usual left liberal critics or public of Laibach, they are reading Laibach along the lines of this standard humanist gap, searching behind the strict, totalitarian mask of Laibach for warm, humane persons. They want to find behind the mask of Laibach—all this low bass industrial totalitarian music—this guarantee: "Don't be afraid, behind this mask they are just ordinary warm people like ourselves." No, the message of Laibach is just the opposite one. It's not: "Don't be afraid, beneath our totalitarian mask we are warm, normal, compassionate people like you". No, it's—even if we look at our everyday life in the West, like normal, compassionate people, all the disgusting spectacles that we are doing in the West, charity, helping others and so on—we are really what we play to be. We are monsters, there is no humanity behind it. So, you see, it's not about North Korea. You will not learn a lot from Laibach about North Korea. You will learn a lot about our own anxieties and hypocrisies.<ref>[https://www.youtube.com/watch?v=NRfgKrmI9Po "Slavoj Žižek introducing: Laibach in North Korea"] {{Webarchive\|url=https://web.archive.org/web/20230819132825/https://www.youtube.com/watch?v=NRfgKrmI9Po \|date=19 August 2023 }}, ''[[YouTube]]'', 4 September 2003</ref>}}

	==Legacy, influence and innovation==		==Legacy, influence and innovation==

Ostalocutanje: /* Slovenian independence and beyond: new releases and new controversies (1991–present) */

2024-11-07T15:34:11Z

Slovenian independence and beyond: new releases and new controversies (1991–present)

← Previous revision		Revision as of 15:34, 7 November 2024
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	[[File:Laibach wracku raciborz 07 2010 009.jpg\|thumb\|upright=1.2\|right\|Milan Fras and Mina Špiler in concert in 2010]]		[[File:Laibach wracku raciborz 07 2010 009.jpg\|thumb\|upright=1.2\|right\|Milan Fras and Mina Špiler in concert in 2010]]
	In 2011, the group released the box set ''Gesamtkunstwerk – Dokument 81–82'' (''Total Work of Art – Document 81–82''), featuring five vinyl records and a DVD with unreleased studio recordings from the early phases of their career.<ref name="Janjatović171">{{harvnb\|Janjatović\|2024\|p=171}}</ref> The compilation was released in a limited number of 600 copies only.<ref name="Janjatović171"/> During the same year, the band recorded a cover of [[Bob Dylan]]'s "[[Ballad of a Thin Man]]", recorded for the tribute album ''Projekt Bob Dylan: Postani prostovoljec!'' (''Project Bob Dylan: Become a Volunteer''), commissioned by the American Embassy in Ljubljana in honor of Dylan's 70th birthday.<ref name="Janjatović171"/> The band was hired by director [[Timo Vuorensola]] to compose music for his [[science fiction comedy]] film ''[[Iron Sky]]'', and it was released on the [[soundtrack album]] ''Iron Sky'' in 2012.<ref name="Janjatović171"/> The double album ''Iron Sky Director's Cut'' featured their music originally composed for ''Iron Sky'', but eventually not used in the film.<ref name="Janjatović171"/> On 14 April 2012, in the [[Tate Modern Turbine Hall]] the band held a concert which was envisioned as the recreation of their 1983 concert at Zagreb Biennalle, with guest appearances by some of the group's early members.<ref name="Janjatović171"/> The recording of the concert was released on the double live album ''Monumental Retro-Avant-Garde''.<ref name="Janjatović171"/>		In 2011, the group released the box set ''Gesamtkunstwerk – Dokument 81–82'' (''Total Work of Art – Document 81–82''), featuring five vinyl records and a DVD with unreleased studio recordings from the early phases of their career.<ref name="Janjatović171">{{harvnb\|Janjatović\|2024\|p=171}}</ref> The compilation was released in a limited number of 600 copies only.<ref name="Janjatović171"/> During the same year, the band recorded a cover of [[Bob Dylan]]'s "[[Ballad of a Thin Man]]", recorded for the tribute album ''Projekt Bob Dylan: Postani prostovoljec!'' (''Project Bob Dylan: Become a Volunteer!''), commissioned by the American Embassy in Ljubljana in honor of Dylan's 70th birthday.<ref name="Janjatović171"/> The band was hired by director [[Timo Vuorensola]] to compose music for his [[science fiction comedy]] film ''[[Iron Sky]]'', and it was released on the [[soundtrack album]] ''Iron Sky'' in 2012.<ref name="Janjatović171"/> The double album ''Iron Sky Director's Cut'' featured their music originally composed for ''Iron Sky'', but eventually not used in the film.<ref name="Janjatović171"/> On 14 April 2012, in the [[Tate Modern Turbine Hall]] the band held a concert which was envisioned as the recreation of their 1983 concert at Zagreb Biennalle, with guest appearances by some of the group's early members.<ref name="Janjatović171"/> The recording of the concert was released on the double live album ''Monumental Retro-Avant-Garde''.<ref name="Janjatović171"/>

	In 2014, Laibach released the album ''Spectre'', the title referring to the first line of ''[[The Communist Manifesto]]''.<ref name="Janjatović171"/> The band dedicated the album songs "Eurovision", "The Whistleblowers" (musically based on "[[Colonel Bogey March]]"), "We Are Millions and Millions Are One" (featuring new member Mina Špiler on lead vocals) and "No History" to [[Julian Assange]] and [[Edward Snowden]].<ref name="Janjatović171"/> The [[deluxe edition]] of the album featured four bonus tracks, including a cover of [[Blind Lemon Jefferson]]'s "[[See That My Grave Is Kept Clean]]" and [[Serge Gainsbourg]]'s "[[Love on the Beat]]", and a book entitled ''Spectre Playbook'', a Laibach "manifesto" with a goal of uniting social activists from around the world.<ref name="Janjatović171"/> The album ''Spectremix'', released in 2015, featured ''Spectre'' songs remixes by [[Marcel Dettmann]], [[Gramatik]], Iztok Turk and other artists.<ref name="Janjatović171"/> During 2014, the band was invited by National Cultural Centre of Poland to record music for the commemoration of the 70th anniversary of the outbreak of the [[Warsaw Uprising]].<ref name="Janjatović171"/> The band released the material on the [[Extended play\|EP]] ''1 VIII 1944 Warszawa'',<ref name="Janjatović171"/> featuring a version of the classic song of the insurgency "Warszawskie Dzieci" ("Children of Warsaw"),<ref>{{cite news\|url=http://www.thenews.pl/1/11/Artykul/176305,Laibach-to-release-Warsaw-Rising-tribute/\|title=Laibach to release Warsaw Rising tribute\|website=PolskieRadio.pl\|date=15 July 2014\|access-date=4 April 2015\|archive-date=11 April 2015\|archive-url=https://web.archive.org/web/20150411162846/http://www.thenews.pl/1/11/Artykul/176305,Laibach-to-release-Warsaw-Rising-tribute/\|url-status=live}}</ref>		In 2014, Laibach released the album ''Spectre'', the title referring to the first line of ''[[The Communist Manifesto]]''.<ref name="Janjatović171"/> The band dedicated the album songs "Eurovision", "The Whistleblowers" (musically based on "[[Colonel Bogey March]]"), "We Are Millions and Millions Are One" (featuring new member Mina Špiler on lead vocals) and "No History" to [[Julian Assange]] and [[Edward Snowden]].<ref name="Janjatović171"/> The [[deluxe edition]] of the album featured four bonus tracks, including a cover of [[Blind Lemon Jefferson]]'s "[[See That My Grave Is Kept Clean]]" and [[Serge Gainsbourg]]'s "[[Love on the Beat]]", and a book entitled ''Spectre Playbook'', a Laibach "manifesto" with a goal of uniting social activists from around the world.<ref name="Janjatović171"/> The album ''Spectremix'', released in 2015, featured ''Spectre'' songs remixes by [[Marcel Dettmann]], [[Gramatik]], Iztok Turk and other artists.<ref name="Janjatović171"/> During 2014, the band was invited by National Cultural Centre of Poland to record music for the commemoration of the 70th anniversary of the outbreak of the [[Warsaw Uprising]].<ref name="Janjatović171"/> The band released the material on the [[Extended play\|EP]] ''1 VIII 1944 Warszawa'',<ref name="Janjatović171"/> featuring a version of the classic song of the insurgency "Warszawskie Dzieci" ("Children of Warsaw"),<ref>{{cite news\|url=http://www.thenews.pl/1/11/Artykul/176305,Laibach-to-release-Warsaw-Rising-tribute/\|title=Laibach to release Warsaw Rising tribute\|website=PolskieRadio.pl\|date=15 July 2014\|access-date=4 April 2015\|archive-date=11 April 2015\|archive-url=https://web.archive.org/web/20150411162846/http://www.thenews.pl/1/11/Artykul/176305,Laibach-to-release-Warsaw-Rising-tribute/\|url-status=live}}</ref>

Ostalocutanje: /* Slovenian independence and beyond: new releases and new controversies (1991–present) */

2024-11-07T15:23:25Z

Slovenian independence and beyond: new releases and new controversies (1991–present)

← Previous revision		Revision as of 15:23, 7 November 2024
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	===Slovenian independence and beyond: new releases and new controversies (1991–present)===		===Slovenian independence and beyond: new releases and new controversies (1991–present)===
	In 1992, the group released ''[[Kapital (album)\|Kapital]]'', an album dealing with [[materialism]] in contemporary society.<ref name="Janjatović170"/> The band released the album on [[vinyl record]], audio cassette and [[compact disc]], recording different versions of the same songs for each format of the album.<ref name="Janjatović170"/> During the same year, they proclaimed the State of NSK, promoting its flag, money, postage stamps and passports.<ref name="Janjatović170"/> The following year, Mute Records released the ''[[Ljubljana–Zagreb–Beograd]]'' live album, featuring recordings from the 1982 concerts in the three cities, presenting a document of politically active rock from the group's early career, especially with the songs "Tito-Tito", "Država" ("The State"), and "Rdeči molk" ("Red Silence").<ref name="Janjatović170"/>		In 1992, the group released ''[[Kapital (album)\|Kapital]]'', an album dealing with [[Economic materialism\|materialism]] in contemporary society.<ref name="Janjatović170"/> The band released the album on [[vinyl record]], audio cassette and [[compact disc]], recording different versions of the same songs for each format of the album.<ref name="Janjatović170"/> During the same year, they proclaimed the State of NSK, promoting its flag, money, postage stamps and passports.<ref name="Janjatović170"/> The following year, Mute Records released the ''[[Ljubljana–Zagreb–Beograd]]'' live album, featuring recordings from the 1982 concerts in the three cities, presenting a document of politically active rock from the group's early career, especially with the songs "Tito-Tito", "Država" ("The State"), and "Rdeči molk" ("Red Silence").<ref name="Janjatović170"/>

	In 1994, they released the album ''[[NATO (album)\|NATO]]'', which commented on the current political events in Eastern Europe, former Yugoslavia and the actions of the [[NATO]] pact, filtered through their blend of [[techno music\|techno]] and [[pop music\|pop]].<ref name="Janjatović170"/> The album featured cover versions of [[Europe (band)\|Europe]]'s "[[The Final Countdown (song)\|The Final Countdown]]", [[Bolland & Bolland]]'s "[[In the Army Now (song)\|In the Army Now]]", [[Don Fardon]]'s "[[Indian Reservation (The Lament of the Cherokee Reservation Indian)\|Indian Reservation]]" (renamed to "National Reservation"), and [[Stanislav Binički]]'s composition "[[Marš na Drinu]]" ("March on the [[Drina]]").<ref name="Janjatović170"/> During the same year, the band also recorded the song "Zrcalo sveta (Das Spiegelglas der Welt)" ("Mirror of the World") for the [[Kraftwerk]] [[tribute album]] ''Trans Slovenia Express'', featuring songs by Sloveian acts.<ref name="Janjatović170"/> The group went on the Occupied Europe NATO Tour 1994-95, provoking the audience in Zagreb and [[Sarajevo]] with their performances of "Marš na Drinu", a [[Serbs\|Serbian]] [[World War I]] patriotic [[March (music)\|march]].<ref name="Janjatović170"/> The tour resulted in the [[box set]] comprising a live CD and a [[VHS]] tape, which featured a selection of recordings from the two-year tour, including the performance in [[Sarajevo]] on the date of the signing of the [[Dayton Agreement]].<ref name="Janjatović170"/> In 1995, the group for a while considered splitting into several simultaneous lineups so that they could perform in different places at the same time, but the idea was abandoned.<ref name="Janjatović170"/>		In 1994, they released the album ''[[NATO (album)\|NATO]]'', which commented on the current political events in Eastern Europe, former Yugoslavia and the actions of the [[NATO]] pact, filtered through their blend of [[techno music\|techno]] and [[pop music\|pop]].<ref name="Janjatović170"/> The album featured cover versions of [[Europe (band)\|Europe]]'s "[[The Final Countdown (song)\|The Final Countdown]]", [[Bolland & Bolland]]'s "[[In the Army Now (song)\|In the Army Now]]", [[Don Fardon]]'s "[[Indian Reservation (The Lament of the Cherokee Reservation Indian)\|Indian Reservation]]" (renamed to "National Reservation"), and [[Stanislav Binički]]'s composition "[[Marš na Drinu]]" ("March on the [[Drina]]").<ref name="Janjatović170"/> During the same year, the band also recorded the song "Zrcalo sveta (Das Spiegelglas der Welt)" ("Mirror of the World") for the [[Kraftwerk]] [[tribute album]] ''Trans Slovenia Express'', featuring songs by Sloveian acts.<ref name="Janjatović170"/> The group went on the Occupied Europe NATO Tour 1994-95, provoking the audience in Zagreb and [[Sarajevo]] with their performances of "Marš na Drinu", a [[Serbs\|Serbian]] [[World War I]] patriotic [[March (music)\|march]].<ref name="Janjatović170"/> The tour resulted in the [[box set]] comprising a live CD and a [[VHS]] tape, which featured a selection of recordings from the two-year tour, including the performance in [[Sarajevo]] on the date of the signing of the [[Dayton Agreement]].<ref name="Janjatović170"/> In 1995, the group for a while considered splitting into several simultaneous lineups so that they could perform in different places at the same time, but the idea was abandoned.<ref name="Janjatović170"/>

Ostalocutanje: /* International breakthrough, acceptance and wide popularity in Yugoslavia (1986–1991) */

2024-11-07T14:58:37Z

International breakthrough, acceptance and wide popularity in Yugoslavia (1986–1991)

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	Laibach's following release was the live album ''The Occupied Europe Tour 1985'', featuring a choice of recordings from their concerts in Ljubljana, Hamburg and London.<ref name="Janjatović170"/> In June 1986, the band held four concerts in England, the mini-tour being entitled ''Laibach Over America''.<ref name="Janjatović170"/> During their staying in London, they recorded three songs for a [[List of Peel sessions\|John Peel session]],<ref name="Janjatović170"/> and performed with the [[Michael Clark (dancer)\|Michael Clark]] dance company in London and [[Manchester]], in the company's play ''No Fire Escape from Hell''.<ref name="Janjatović170"/> On 10 October 1986, the group performed in [[Graz]], [[Austria]], on the festival entitled Concert for the Abolishment of Fascist Trade Unions.<ref name="Janjatović170"/>		Laibach's following release was the live album ''The Occupied Europe Tour 1985'', featuring a choice of recordings from their concerts in Ljubljana, Hamburg and London.<ref name="Janjatović170"/> In June 1986, the band held four concerts in England, the mini-tour being entitled ''Laibach Over America''.<ref name="Janjatović170"/> During their staying in London, they recorded three songs for a [[List of Peel sessions\|John Peel session]],<ref name="Janjatović170"/> and performed with the [[Michael Clark (dancer)\|Michael Clark]] dance company in London and [[Manchester]], in the company's play ''No Fire Escape from Hell''.<ref name="Janjatović170"/> On 10 October 1986, the group performed in [[Graz]], [[Austria]], on the festival entitled Concert for the Abolishment of Fascist Trade Unions.<ref name="Janjatović170"/>

	Having signed for [[Mute Records]], Laibach started recording their third studio album, ''[[Opus Dei (album)\|Opus Dei]]'', working with composer [[Slavko Avsenik Jr.]]<ref name="Janjatović170"/> The [[Album cover\|inner sleeve]] of the cover featured a [[swastika]] consisting of four bloodied axes designed by [[John Heartfield]], an anti-Nazi artist.<ref name="Janjatović170"/> The record was sold secretly in some European countries, as the meaning of the cover was not recognized.<ref name="Janjatović170"/><ref name="megla219"/> The group achieved commercial success with the cover versions of "[[Live Is Life]]" by [[Opus (Austrian band)\|Opus]], entitled "Life Is Life", and "[[One Vision]]" by [[Queen (band)\|Queen]], entitled "Geburt einer Nation" ("Birth of a Nation"), which would mark the direction of their future releases.<ref name="Janjatović170"/> The track "How the West Was Won" was also well-received by the audience.<ref name="Janjatović170"/> The usage of the name ''Opus Dei'' caused the [[Opus Dei\|Catholic institution of the same name]] to sue the group, but the case was eventually decided in favor of Laibach.<ref name="Janjatović170"/> Following the album release, the group embarked on the United States of Europe Tour, during which they stated at a press conference in [[France]] that their influences are [[Josip Broz Tito\|Tito]], [[Toto (band)\|Toto]], and [[Jacques Tati\|Tati]].<ref name="Janjatović170"/> On 7 April 1987, they recorded three more songs for a John Peel session.<ref name="Janjatović170"/> During May, they once again performed in Clark's company ''No Fire Escape from Hell'' play, in [[Brighton]] and [[Leicester]].<ref name="Janjatović170"/> On 28 July, they presented the work of Neue Slowenische Kunst at the [[London International Festival of Theatre]].<ref name="Janjatović170"/> With Clark's company they performed in [[Los Angeles]], holding three performances in September 1987.<ref name="Janjatović170"/> In the [[United States]] they were invited to a reception hosted by the [[Embassy of the United Kingdom, Washington, D.C.\|British ambassador]]. They appeared on the reception wearing their uniforms, and the actor [[Walter Gotell]] (known for his role of [[General Gogol]] in [[James Bond]] film series), who was also present on the reception, saw this as a provocation.<ref name="megla219">{{cite book\|last=Megla\|first=Maja\|title=Leksikon YU mitologije\|year=2015\|publisher=Rende – Postscriptum\|location=Belgrade – Zagreb\|page=219}}</ref> In Yugoslavia, the play was performed at the [[Belgrade International Theatre Festival]], however, performance by Laibach and Tito's speeches were omitted.<ref name="Janjatović170"/> In September 1987, ~~they~~ performed in Hamburg's [[Deutsches Schauspielhaus]] production of ''[[Macbeth]]'', for which they also wrote the music.<ref name="Janjatović170"/> The music from the play would be released two years later on the album ''[[Macbeth (album)\|Macbeth]]''.<ref name="Janjatović170"/>		Having signed for [[Mute Records]], Laibach started recording their third studio album, ''[[Opus Dei (album)\|Opus Dei]]'', working with composer [[Slavko Avsenik Jr.]]<ref name="Janjatović170"/> The [[Album cover\|inner sleeve]] of the cover featured a [[swastika]] consisting of four bloodied axes designed by [[John Heartfield]], an anti-Nazi artist.<ref name="Janjatović170"/> The record was sold secretly in some European countries, as the meaning of the cover was not recognized.<ref name="Janjatović170"/><ref name="megla219"/> The group achieved commercial success with the cover versions of "[[Live Is Life]]" by [[Opus (Austrian band)\|Opus]], entitled "Life Is Life", and "[[One Vision]]" by [[Queen (band)\|Queen]], entitled "Geburt einer Nation" ("Birth of a Nation"), which would mark the direction of their future releases.<ref name="Janjatović170"/> The track "How the West Was Won" was also well-received by the audience.<ref name="Janjatović170"/> The usage of the name ''Opus Dei'' caused the [[Opus Dei\|Catholic institution of the same name]] to sue the group, but the case was eventually decided in favor of Laibach.<ref name="Janjatović170"/> Following the album release, the group embarked on the United States of Europe Tour, during which they stated at a press conference in [[France]] that their influences are [[Josip Broz Tito\|Tito]], [[Toto (band)\|Toto]], and [[Jacques Tati\|Tati]].<ref name="Janjatović170"/> On 7 April 1987, they recorded three more songs for a John Peel session.<ref name="Janjatović170"/> During May, they once again performed in Clark's company ''No Fire Escape from Hell'' play, in [[Brighton]] and [[Leicester]].<ref name="Janjatović170"/> On 28 July, they presented the work of Neue Slowenische Kunst at the [[London International Festival of Theatre]].<ref name="Janjatović170"/> With Clark's company they performed in [[Los Angeles]], holding three performances in September 1987.<ref name="Janjatović170"/> In the [[United States]] they were invited to a reception hosted by the [[Embassy of the United Kingdom, Washington, D.C.\|British ambassador]]. They appeared on the reception wearing their uniforms, and the actor [[Walter Gotell]] (known for his role of [[General Gogol]] in [[James Bond]] film series), who was also present on the reception, saw this as a provocation.<ref name="megla219">{{cite book\|last=Megla\|first=Maja\|title=Leksikon YU mitologije\|year=2015\|publisher=Rende – Postscriptum\|location=Belgrade – Zagreb\|page=219}}</ref> In Yugoslavia, the play was performed at the [[Belgrade International Theatre Festival]], however, performance by Laibach and Tito's speeches were omitted.<ref name="Janjatović170"/> In September 1987, the band also performed in Hamburg's [[Deutsches Schauspielhaus]] production of ''[[Macbeth]]'', for which they also wrote the music.<ref name="Janjatović170"/> The music from the play would be released two years later on the album ''[[Macbeth (album)\|Macbeth]]''.<ref name="Janjatović170"/>

	In Yugoslavia, ''Opus Dei'' was released in November 1987 by the state-owned major label [[ZKP RTLJ]].<ref name="Janjatović170"/> The release was followed by the double album ''[[Baptism (Laibach album)\|Krst pod Triglavom – Baptism]]'', featuring the music from the play of the same title.<ref name="Janjatović170"/> The members of the band were invited to a meeting with Jože Osterman, Secretary of the League of Socialist Working People of Ljubljana, who tried to persuade them to change their name to Ljubljana, as, despite the lifting of the ban on the name Laibach, the group's name still sparked occasional controversies in their home country.<ref name="megla219"/> Despite them, the band held a sold-out concert in Ljubljana entitled ''Svoji ka svojim'' (''To Their Own''),<ref name="megla219"/> and Yugoslav [[Lifestyle journalism\|lifestyle]] and entertainment magazine ''Start'' pronounced members of the group the fourth on the list of Best Dressed Men in Yugoslavia.<ref name="megla219"/> After the performance in Ljubljana, the band went on another European tour, during which they appeared at the end of every concert with [[horned helmets]].<ref name="megla219"/> On their performance at the [[Vienna Festival]], they provoked the audience with the intro: "[[Austrians]], You Are [[Germans]]", which almost forced organizers to interrupt the concert.<ref name="megla219"/> Their performance in [[Amsterdam]] was a part of [[European Capital of Culture]] program. During the band's performance on a five-meter–high stage, the performance crew roasted an [[ox]] on a stake on the hall's balcony.<ref name="megla219"/>		In Yugoslavia, ''Opus Dei'' was released in November 1987 by the state-owned major label [[ZKP RTLJ]].<ref name="Janjatović170"/> The release was followed by the double album ''[[Baptism (Laibach album)\|Krst pod Triglavom – Baptism]]'', featuring the music from the play of the same title.<ref name="Janjatović170"/> The members of the band were invited to a meeting with Jože Osterman, Secretary of the League of Socialist Working People of Ljubljana, who tried to persuade them to change their name to Ljubljana, as, despite the lifting of the ban on the name Laibach, the group's name still sparked occasional controversies in their home country.<ref name="megla219"/> Despite them, the band held a sold-out concert in Ljubljana entitled ''Svoji ka svojim'' (''To Their Own''),<ref name="megla219"/> and Yugoslav [[Lifestyle journalism\|lifestyle]] and entertainment magazine ''Start'' pronounced members of the group the fourth on the list of Best Dressed Men in Yugoslavia.<ref name="megla219"/> After the performance in Ljubljana, the band went on another European tour, during which they appeared at the end of every concert with [[horned helmets]].<ref name="megla219"/> On their performance at the [[Vienna Festival]], they provoked the audience with the intro: "[[Austrians]], You Are [[Germans]]", which almost forced organizers to interrupt the concert.<ref name="megla219"/> Their performance in [[Amsterdam]] was a part of [[European Capital of Culture]] program. During the band's performance on a five-meter–high stage, the performance crew roasted an [[ox]] on a stake on the hall's balcony.<ref name="megla219"/>

Ostalocutanje: /* Dissident status in Yugoslavia (1983–1985) */

2024-11-07T14:53:23Z

Dissident status in Yugoslavia (1983–1985)

← Previous revision		Revision as of 14:53, 7 November 2024
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	The following year, the group released their debut studio album, ''[[Laibach (album)\|Laibach]]'', through the Ljubljana Students' Cultural Center's label Ropot.<ref name="Janjatović170"/> Due to the ban of the name Laibach, the cover featured the group's trademark black cross without any text.<ref name="Janjatović170"/> On one of the album tracks, the band used a sample from a speech by Josip Broz Tito, however, it was removed by the state censors.<ref name="Janjatović170"/> During the same year, the German label WUS released Laibach compilation album ''[[Rekapitulacija 1980–1984]]'' (''Recapitulation 1980–1984'').<ref name="Janjatović170"/> The recording of their performance at the Neu Konservatiw festival in [[Hamburg]] on 15 June 1985 was released on the live album ''[[Neu Konservatiw]]''.<ref name="Janjatović170"/> At the end of the year, the band once more held a number of performances in [[West Germany]], this time under the title ''Die erste bombardierung – Laibach über dem Deutschland'' (''The First Bombing – Laibach Over Germany'').<ref name="Janjatović170"/> The concerts featured hunting imagery, like axes and [[Trophy hunting\|trophy antlers]], and during the concerts, the band members sawed wood on stage, surrounded by live tranquilized rabbits.<ref name="megla218"/>		The following year, the group released their debut studio album, ''[[Laibach (album)\|Laibach]]'', through the Ljubljana Students' Cultural Center's label Ropot.<ref name="Janjatović170"/> Due to the ban of the name Laibach, the cover featured the group's trademark black cross without any text.<ref name="Janjatović170"/> On one of the album tracks, the band used a sample from a speech by Josip Broz Tito, however, it was removed by the state censors.<ref name="Janjatović170"/> During the same year, the German label WUS released Laibach compilation album ''[[Rekapitulacija 1980–1984]]'' (''Recapitulation 1980–1984'').<ref name="Janjatović170"/> The recording of their performance at the Neu Konservatiw festival in [[Hamburg]] on 15 June 1985 was released on the live album ''[[Neu Konservatiw]]''.<ref name="Janjatović170"/> At the end of the year, the band once more held a number of performances in [[West Germany]], this time under the title ''Die erste bombardierung – Laibach über dem Deutschland'' (''The First Bombing – Laibach Over Germany'').<ref name="Janjatović170"/> The concerts featured hunting imagery, like axes and [[Trophy hunting\|trophy antlers]], and during the concerts, the band members sawed wood on stage, surrounded by live tranquilized rabbits.<ref name="megla218"/>

	On 6 February 1986, with the Scipion Nasice Sisters Theatre, the group premiered their own play ''Krst pod Triglavom'' (''Baptism Under Triglav'') at the Ljubljana's [[Cankar Centre\|Cankar Hall]].<ref name="Janjatović170"/> The performance was followed by a [[Round table (discussion)\|round table]] about the ban of the name Laibach, organized in Ljubljana. The discussion featured academics, representatives of political organizations and authorities, including the president of the Assembly of the City of Ljubljana Tina Tomlje.<ref name="megla218"/> In a TV interview, Tomlje stated that she was informed of the quality of the band's works and of the success they had achieved abroad, but that they would not be allowed to perform in Ljubljana under the name Laibach.<ref name="megla218"/> Soon after, the group released their second studio album, ''[[Nova Akropola]]'' (''The New Acropolis''), via British independent record label [[Cherry Red Records]].<ref name="Janjatović170"/> After the album release, the [[League of Socialist Youth of Yugoslavia\|League of Socialist Youth of Slovenia]] on their 12th congress demanded the ban on the usage of the name Laibach to be lifted.<ref name="Janjatović170"/> The ~~band~~ was officially lifted on 4 April 1985, and the group performed their first legal concert in Slovenia under the name Laibach already on the following day, in [[Hum, Brda\|Hum]], entitled ''Krvava gruda, plodna zemlja'' (''Bloody Land, Fertile Soil'').<ref name="Janjatović170"/> On the [[Youth Day#Yugoslavia\|Yugoslav Youth Day]], the League of Socialist Youth of Slovenia awarded Neue Slowenische Kunst with a plaque, and the League's official magazine ''[[Mladina]]'' awarded the collective with the Zlata ptica (''The Golden Bird'') award.<ref name="Janjatović170"/>		On 6 February 1986, with the Scipion Nasice Sisters Theatre, the group premiered their own play ''Krst pod Triglavom'' (''Baptism Under Triglav'') at the Ljubljana's [[Cankar Centre\|Cankar Hall]].<ref name="Janjatović170"/> The performance was followed by a [[Round table (discussion)\|round table]] about the ban of the name Laibach, organized in Ljubljana. The discussion featured academics, representatives of political organizations and authorities, including the president of the Assembly of the City of Ljubljana Tina Tomlje.<ref name="megla218"/> In a TV interview, Tomlje stated that she was informed of the quality of the band's works and of the success they had achieved abroad, but that they would not be allowed to perform in Ljubljana under the name Laibach.<ref name="megla218"/> Soon after, the group released their second studio album, ''[[Nova Akropola]]'' (''The New Acropolis''), via British independent record label [[Cherry Red Records]].<ref name="Janjatović170"/> After the album release, the [[League of Socialist Youth of Yugoslavia\|League of Socialist Youth of Slovenia]] on their 12th congress demanded the ban on the usage of the name Laibach to be lifted.<ref name="Janjatović170"/> The ban was officially lifted on 4 April 1985, and the group performed their first legal concert in Slovenia under the name Laibach already on the following day, in [[Hum, Brda\|Hum]], entitled ''Krvava gruda, plodna zemlja'' (''Bloody Land, Fertile Soil'').<ref name="Janjatović170"/> On the [[Youth Day#Yugoslavia\|Yugoslav Youth Day]], the League of Socialist Youth of Slovenia awarded Neue Slowenische Kunst with a plaque, and the League's official magazine ''[[Mladina]]'' awarded the collective with the Zlata ptica (''The Golden Bird'') award.<ref name="Janjatović170"/>

	===International breakthrough, acceptance and wide popularity in Yugoslavia (1986–1991)===		===International breakthrough, acceptance and wide popularity in Yugoslavia (1986–1991)===

Ostalocutanje: /* Dissident status in Yugoslavia (1983–1985) */

2024-11-07T14:51:28Z

Dissident status in Yugoslavia (1983–1985)

← Previous revision		Revision as of 14:51, 7 November 2024
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	On 7 October 1984, Laibach officially founded the informal art collective [[Neue Slowenische Kunst]] (German for ''New Slovene Art'') with [[visual arts]] group [[IRWIN]] and [[Scipion Nasice Sisters Theatre\|Scipion Nasice Sisters]] and Rdeči Pilot (''Red Pilot'') theatre groups.<ref name="Janjatović170"/> They were later joined by Novi kolektivizam (''New Collectivism'') [[design studio]], Graditelji (''Builders'') [[architecture bureau]], Retrovizija (''Retrovision'') film group and the Odeljenje za čisto in praktično filozofijo (''Section for Clean and Practical Philosophy'') group.<ref name="Janjatović170"/> The band also started two musical side projects, Germania and [[300.000 V.K.]]<ref name="Janjatović170"/> On 21 December 1984, Laibach held a concert dedicated to the late Hostnik at the Malči Belič Hall in Ljubljana.<ref name="Janjatović170"/> Due to the fact that they were still banned from using the name Laibach, they announced the concert with posters featuring only a black cross, the initials of the hall, and date and time of the concert.<ref name="megla218"/>		On 7 October 1984, Laibach officially founded the informal art collective [[Neue Slowenische Kunst]] (German for ''New Slovene Art'') with [[visual arts]] group [[IRWIN]] and [[Scipion Nasice Sisters Theatre\|Scipion Nasice Sisters]] and Rdeči Pilot (''Red Pilot'') theatre groups.<ref name="Janjatović170"/> They were later joined by Novi kolektivizam (''New Collectivism'') [[design studio]], Graditelji (''Builders'') [[architecture bureau]], Retrovizija (''Retrovision'') film group and the Odeljenje za čisto in praktično filozofijo (''Section for Clean and Practical Philosophy'') group.<ref name="Janjatović170"/> The band also started two musical side projects, Germania and [[300.000 V.K.]]<ref name="Janjatović170"/> On 21 December 1984, Laibach held a concert dedicated to the late Hostnik at the Malči Belič Hall in Ljubljana.<ref name="Janjatović170"/> Due to the fact that they were still banned from using the name Laibach, they announced the concert with posters featuring only a black cross, the initials of the hall, and date and time of the concert.<ref name="megla218"/>

	The following year, the group released their debut studio album, ''[[Laibach (album)\|Laibach]]'', through the Ljubljana Students' Cultural Center's label Ropot.<ref name="Janjatović170"/> Due to the ban of the name Laibach, the cover featured the group's trademark black cross without any text.<ref name="Janjatović170"/> On one of the album tracks, the band used a sample from a speech by Josip Broz Tito, however it was removed by the state censors.<ref name="Janjatović170"/> During the same year, the German label WUS released Laibach compilation album ''[[Rekapitulacija 1980–1984]]'' (''Recapitulation 1980–1984'').<ref name="Janjatović170"/> The recording of their performance at the Neu Konservatiw festival in [[Hamburg]] on 15 June 1985 was released on the live album ''[[Neu Konservatiw]]''.<ref name="Janjatović170"/> At the end of the year, the band once more held a number of performances in [[West Germany]], this time under the title ''Die erste bombardierung – Laibach über dem Deutschland'' (''The First Bombing – Laibach Over Germany'').<ref name="Janjatović170"/> The concerts featured hunting imagery, like axes and [[Trophy hunting\|trophy antlers]], and during the concerts, the band members sawed wood on stage, surrounded by live tranquilized rabbits.<ref name="megla218"/>		The following year, the group released their debut studio album, ''[[Laibach (album)\|Laibach]]'', through the Ljubljana Students' Cultural Center's label Ropot.<ref name="Janjatović170"/> Due to the ban of the name Laibach, the cover featured the group's trademark black cross without any text.<ref name="Janjatović170"/> On one of the album tracks, the band used a sample from a speech by Josip Broz Tito, however, it was removed by the state censors.<ref name="Janjatović170"/> During the same year, the German label WUS released Laibach compilation album ''[[Rekapitulacija 1980–1984]]'' (''Recapitulation 1980–1984'').<ref name="Janjatović170"/> The recording of their performance at the Neu Konservatiw festival in [[Hamburg]] on 15 June 1985 was released on the live album ''[[Neu Konservatiw]]''.<ref name="Janjatović170"/> At the end of the year, the band once more held a number of performances in [[West Germany]], this time under the title ''Die erste bombardierung – Laibach über dem Deutschland'' (''The First Bombing – Laibach Over Germany'').<ref name="Janjatović170"/> The concerts featured hunting imagery, like axes and [[Trophy hunting\|trophy antlers]], and during the concerts, the band members sawed wood on stage, surrounded by live tranquilized rabbits.<ref name="megla218"/>

	On 6 February 1986, with the Scipion Nasice Sisters Theatre, the group premiered their own play ''Krst pod Triglavom'' (''Baptism Under Triglav'') at the Ljubljana's [[Cankar Centre\|Cankar Hall]].<ref name="Janjatović170"/> The performance was followed by a [[Round table (discussion)\|round table]] about the ban of the name Laibach, organized in Ljubljana. The discussion featured academics, representatives of political organizations and authorities, including the president of the Assembly of the City of Ljubljana Tina Tomlje.<ref name="megla218"/> In a TV interview, Tomlje stated that she was informed of the quality of the band's works and of the success they had achieved abroad, but that they would not be allowed to perform in Ljubljana under the name Laibach.<ref name="megla218"/> Soon after, the group released their second studio album, ''[[Nova Akropola]]'' (''The New Acropolis''), via British independent record label [[Cherry Red Records]].<ref name="Janjatović170"/> After the album release, the [[League of Socialist Youth of Yugoslavia\|League of Socialist Youth of Slovenia]] on their 12th congress demanded the ban on the usage of the name Laibach to be lifted.<ref name="Janjatović170"/> The band was officially lifted on 4 April 1985, and the group performed their first legal concert in Slovenia under the name Laibach already on the following day, in [[Hum, Brda\|Hum]], entitled ''Krvava gruda, plodna zemlja'' (''Bloody Land, Fertile Soil'').<ref name="Janjatović170"/> On the [[Youth Day#Yugoslavia\|Yugoslav Youth Day]], the League of Socialist Youth of Slovenia awarded Neue Slowenische Kunst with a plaque, and the League's official magazine ''[[Mladina]]'' awarded the collective with the Zlata ptica (''The Golden Bird'') award.<ref name="Janjatović170"/>		On 6 February 1986, with the Scipion Nasice Sisters Theatre, the group premiered their own play ''Krst pod Triglavom'' (''Baptism Under Triglav'') at the Ljubljana's [[Cankar Centre\|Cankar Hall]].<ref name="Janjatović170"/> The performance was followed by a [[Round table (discussion)\|round table]] about the ban of the name Laibach, organized in Ljubljana. The discussion featured academics, representatives of political organizations and authorities, including the president of the Assembly of the City of Ljubljana Tina Tomlje.<ref name="megla218"/> In a TV interview, Tomlje stated that she was informed of the quality of the band's works and of the success they had achieved abroad, but that they would not be allowed to perform in Ljubljana under the name Laibach.<ref name="megla218"/> Soon after, the group released their second studio album, ''[[Nova Akropola]]'' (''The New Acropolis''), via British independent record label [[Cherry Red Records]].<ref name="Janjatović170"/> After the album release, the [[League of Socialist Youth of Yugoslavia\|League of Socialist Youth of Slovenia]] on their 12th congress demanded the ban on the usage of the name Laibach to be lifted.<ref name="Janjatović170"/> The band was officially lifted on 4 April 1985, and the group performed their first legal concert in Slovenia under the name Laibach already on the following day, in [[Hum, Brda\|Hum]], entitled ''Krvava gruda, plodna zemlja'' (''Bloody Land, Fertile Soil'').<ref name="Janjatović170"/> On the [[Youth Day#Yugoslavia\|Yugoslav Youth Day]], the League of Socialist Youth of Slovenia awarded Neue Slowenische Kunst with a plaque, and the League's official magazine ''[[Mladina]]'' awarded the collective with the Zlata ptica (''The Golden Bird'') award.<ref name="Janjatović170"/>

← Previous revision		Revision as of 15:45, 7 November 2024
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	At the early stage of their career, Laibach's visuals employed [[socialist realism\|socialist realist]] mining iconography,<ref name="Janjatović169"/> and later the band incorporated, alongside influences from socialist realism, influences from [[Art in Nazi Germany\|Nazi art]] and [[Futurism\|Italian futurism]] to their imagery.<ref name="Janjatović170"/> On their early promotional posters the band used black crosses from the works of [[Russian avant-garde]] painter [[Kazimir Malevich]],<ref name="Janjatović169"/> later incorporating a black cross into their logo, consisting of a cross encircled with a gear.<ref name="Janjatović169"/> In the mid-1980s, when the usage of the name Laibach was banned in Yugoslavia, the group used posters with black crosses without band name to advertise their performances,<ref>{{cite web \|url=http://www.artmargins.com/content/review/griffin.html \|title=A R T M a r g i n s - Winifred M. Griffin: Review of'' Laibach ''and Irwin \|access-date=22 April 2007 \|url-status=dead \|archive-url=https://web.archive.org/web/20070312073938/http://www.artmargins.com/content/review/griffin.html \|archive-date=12 March 2007 }}</ref> and their debut album was released with the black cross and without any text on the cover.<ref name="Janjatović171"/> Cross imagery, and variations on the cross are apparent in many Laibach recordings and publications. Some Laibach releases feature artwork by the [[Communism\|communist]] and early [[Dada]] artist [[John Heartfield]].<ref name="Janjatović171"/> The usage of Heartfield's anti-Nazi work depicting swastika consisting of four bloodied axes on the inner sleeve of the album ''[[Opus Dei (album)\|Opus Dei]]'' caused controversies in some European countries.<ref name="Janjatović171"/>		At the early stage of their career, Laibach's visuals employed [[socialist realism\|socialist realist]] mining iconography,<ref name="Janjatović169"/> and later the band incorporated, alongside influences from socialist realism, influences from [[Art in Nazi Germany\|Nazi art]] and [[Futurism\|Italian futurism]] to their imagery.<ref name="Janjatović170"/> On their early promotional posters the band used black crosses from the works of [[Russian avant-garde]] painter [[Kazimir Malevich]],<ref name="Janjatović169"/> later incorporating a black cross into their logo, consisting of a cross encircled with a gear.<ref name="Janjatović169"/> In the mid-1980s, when the usage of the name Laibach was banned in Yugoslavia, the group used posters with black crosses without band name to advertise their performances,<ref>{{cite web \|url=http://www.artmargins.com/content/review/griffin.html \|title=A R T M a r g i n s - Winifred M. Griffin: Review of'' Laibach ''and Irwin \|access-date=22 April 2007 \|url-status=dead \|archive-url=https://web.archive.org/web/20070312073938/http://www.artmargins.com/content/review/griffin.html \|archive-date=12 March 2007 }}</ref> and their debut album was released with the black cross and without any text on the cover.<ref name="Janjatović171"/> Cross imagery, and variations on the cross are apparent in many Laibach recordings and publications. Some Laibach releases feature artwork by the [[Communism\|communist]] and early [[Dada]] artist [[John Heartfield]].<ref name="Janjatović171"/> The usage of Heartfield's anti-Nazi work depicting swastika consisting of four bloodied axes on the inner sleeve of the album ''[[Opus Dei (album)\|Opus Dei]]'' caused controversies in some European countries.<ref name="Janjatović171"/>

	The visual imagery of Laibach's art has been described as "radically ambiguous".<ref name="monroe76">{{cite book\|last=Monroe\|first=Alexei\|title=Interrogation Machine: Laibach and NSK\|year=2005\|publisher=MIT Press\|location=\|page=76}}</ref> An early example of this ambiguity would be the woodcut entitled ''The Thrower'', also known as ''Metalec'' (''The Metal Worker''). This work features a monochrome silhouette of a figure with a clenched fist holding a hammer aloft. The work could be seen both as promoting industrial protest or as a symbol of industrial pride. Another aspect of this woodcut is the large typefaced word ''LAIBACH'', evoking memories of the Nazi occupation of Slovenia. This piece was featured prominently during the band's 1983 interview for ''TV tednik''.<ref name="monroe161">{{cite book\|last=Monroe\|first=Alexei\|title=Interrogation Machine: Laibach and NSK\|year=2005\|publisher=MIT Press\|location=\|page=161}}</ref>		The visual imagery of Laibach's art has been described as "radically ambiguous".<ref name="monroe76">{{cite book\|last=Monroe\|first=Alexei\|title=Interrogation Machine: Laibach and NSK\|year=2005\|publisher=MIT Press\|location=\|page=76}}</ref> An early example of this ambiguity would be the [[woodcut]] entitled ''The Thrower'', also known as ''Metalec'' (''The Metal Worker''). This work features a monochrome silhouette of a figure with a clenched fist holding a hammer aloft. The work could be seen both as promoting industrial protest or as a symbol of industrial pride. Another aspect of this woodcut is the large typefaced word ''LAIBACH'', evoking memories of the Nazi occupation of Slovenia. This piece was featured prominently during the band's 1983 interview for ''TV tednik''.<ref name="monroe161">{{cite book\|last=Monroe\|first=Alexei\|title=Interrogation Machine: Laibach and NSK\|year=2005\|publisher=MIT Press\|location=\|page=161}}</ref>

	Laibach has frequently been accused of both [[far left]] and [[far right]] political stances due to their use of uniforms and [[totalitarian]]-style [[aesthetics]]. They were also accused of being [[neo-nationalism\|neo-nationalists]]. When confronted with such accusations, Laibach is quoted as replying with the ambiguous response "We are [[fascist]]s as much as [[Paintings by Adolf Hitler\|Hitler was a painter]]".<ref name="VH1">{{cite web\|url=http://www.vh1.com/artists/az/laibach/bio.jhtml\|archive-url=https://web.archive.org/web/20040612193631/http://www.vh1.com/artists/az/laibach/bio.jhtml\|url-status=dead\|archive-date=12 June 2004\|website=VH1.com\|title=Laibach Biography\|access-date = 22 April 2007}}</ref> Laibach concerts have sometimes aesthetically appeared as political rallies, and the members of Laibach are notorious for rarely stepping out of character. When interviewed, they often answer in wry manifestos, showing a paradoxical lust for, and condemnation of, authority.<ref name="VH1"/>		Laibach has frequently been accused of both [[far left]] and [[far right]] political stances due to their use of uniforms and [[totalitarian]]-style [[aesthetics]]. They were also accused of being [[neo-nationalism\|neo-nationalists]]. When confronted with such accusations, Laibach is quoted as replying with the ambiguous response "We are [[fascist]]s as much as [[Paintings by Adolf Hitler\|Hitler was a painter]]".<ref name="VH1">{{cite web\|url=http://www.vh1.com/artists/az/laibach/bio.jhtml\|archive-url=https://web.archive.org/web/20040612193631/http://www.vh1.com/artists/az/laibach/bio.jhtml\|url-status=dead\|archive-date=12 June 2004\|website=VH1.com\|title=Laibach Biography\|access-date = 22 April 2007}}</ref> Laibach concerts have sometimes aesthetically appeared as political rallies, and the members of Laibach are notorious for rarely stepping out of character. When interviewed, they often answer in wry manifestos, showing a paradoxical lust for, and condemnation of, authority.<ref name="VH1"/>
Line 117:		Line 117:
	British musician and journalist [[Richard Wolfson (musician)\|Richard Wolfson]] wrote of the group:		British musician and journalist [[Richard Wolfson (musician)\|Richard Wolfson]] wrote of the group:

	{{quote\|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 [[European Union\|EU]], the analogies between Western [[democracy]] and [[totalitarianism]].<ref>Richard Wolfson, [https://www.telegraph.co.uk/culture/music/rockandjazzmusic/3601856/Warriors-of-weirdness.html "Warriors of weirdness"] {{Webarchive\|url=https://web.archive.org/web/20220205093612/https://www.telegraph.co.uk/culture/music/rockandjazzmusic/3601856/Warriors-of-weirdness.html \|date=5 February 2022 }}, ''[[The Daily Telegraph]]'', 4 September 2003</ref>}}		{{quote\|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 [[European Union\|EU]], the analogies between Western [[democracy]] and totalitarianism.<ref>Richard Wolfson, [https://www.telegraph.co.uk/culture/music/rockandjazzmusic/3601856/Warriors-of-weirdness.html "Warriors of weirdness"] {{Webarchive\|url=https://web.archive.org/web/20220205093612/https://www.telegraph.co.uk/culture/music/rockandjazzmusic/3601856/Warriors-of-weirdness.html \|date=5 February 2022 }}, ''[[The Daily Telegraph]]'', 4 September 2003</ref>}}

	Slovenian philosopher [[Slavoj Žižek]] stated about the group after their performance in North Korea:		Slovenian philosopher [[Slavoj Žižek]] stated about the group after their performance in North Korea:

	{{quote\|Quite often libertarian ~~leftists~~ were embarrassed by Laibach. On the one hand, of course, they had to support Laibach. But they were very uneasy about how to take Laibach. Their primordial fear—which is for me the first sign that they didn't understand anything about Laibach—was to claim that Laibach is a great ironic spectacle of subtly mocking, making fun of authority and so on. But then, almost always in my experience—I experienced this with my leftist friends—they added a worry: "What if people will not get it properly, what if people would take Laibach too seriously and perceive, or rather mispercieve, what is their ironic spectacle as real celebration of totalitarianism?" No, I think things are much more complex. Laibach is not simply making fun of totalitarianism. Laibach is bringing out the authoritarian feature which is present in most societies, even in the most democratic societies. [...] I think that Laibach is deeply aware [...] of this deep ambiguity of even the most democratic power. And they are trying to bring this authoritarian streak out even with a certain open fascination. There is no distance there. They are not making fun of it. They are openly enjoying it. So that's the traumatic message of Laibach: staging the real of power. [...] Usual left liberal critics or public of Laibach, they are reading Laibach along the lines of this standard humanist gap, searching behind the strict, totalitarian mask of Laibach for warm, humane persons. They want to find behind the mask of Laibach—all this low bass industrial totalitarian music—this guarantee: "Don't be afraid, behind this mask they are just ordinary warm people like ourselves." No, the message of Laibach is just the opposite one. It's not: "Don't be afraid, beneath our totalitarian mask we are warm, normal, compassionate people like you". No, it's—even if we look at our everyday life in the West, like normal, compassionate people, all the disgusting spectacles that we are doing in the West, charity, helping others and so on—we are really what we play to be. We are monsters, there is no humanity behind it. So, you see, it's not about North Korea. You will not learn a lot from Laibach about North Korea. You will learn a lot about our own anxieties and hypocrisies.<ref>[https://www.youtube.com/watch?v=NRfgKrmI9Po "Slavoj Žižek introducing: Laibach in North Korea"] {{Webarchive\|url=https://web.archive.org/web/20230819132825/https://www.youtube.com/watch?v=NRfgKrmI9Po \|date=19 August 2023 }}, ''[[YouTube]]'', 4 September 2003</ref>}}		{{quote\|Quite often [[libertarian left]]ists were embarrassed by Laibach. On the one hand, of course, they had to support Laibach. But they were very uneasy about how to take Laibach. Their primordial fear—which is for me the first sign that they didn't understand anything about Laibach—was to claim that Laibach is a great ironic spectacle of subtly mocking, making fun of authority and so on. But then, almost always in my experience—I experienced this with my leftist friends—they added a worry: "What if people will not get it properly, what if people would take Laibach too seriously and perceive, or rather mispercieve, what is their ironic spectacle as real celebration of totalitarianism?" No, I think things are much more complex. Laibach is not simply making fun of totalitarianism. Laibach is bringing out the authoritarian feature which is present in most societies, even in the most democratic societies. [...] I think that Laibach is deeply aware [...] of this deep ambiguity of even the most democratic power. And they are trying to bring this authoritarian streak out even with a certain open fascination. There is no distance there. They are not making fun of it. They are openly enjoying it. So that's the traumatic message of Laibach: staging the real of power. [...] Usual left liberal critics or public of Laibach, they are reading Laibach along the lines of this standard humanist gap, searching behind the strict, totalitarian mask of Laibach for warm, humane persons. They want to find behind the mask of Laibach—all this low bass industrial totalitarian music—this guarantee: "Don't be afraid, behind this mask they are just ordinary warm people like ourselves." No, the message of Laibach is just the opposite one. It's not: "Don't be afraid, beneath our totalitarian mask we are warm, normal, compassionate people like you". No, it's—even if we look at our everyday life in the West, like normal, compassionate people, all the disgusting spectacles that we are doing in the West, charity, helping others and so on—we are really what we play to be. We are monsters, there is no humanity behind it. So, you see, it's not about North Korea. You will not learn a lot from Laibach about North Korea. You will learn a lot about our own anxieties and hypocrisies.<ref>[https://www.youtube.com/watch?v=NRfgKrmI9Po "Slavoj Žižek introducing: Laibach in North Korea"] {{Webarchive\|url=https://web.archive.org/web/20230819132825/https://www.youtube.com/watch?v=NRfgKrmI9Po \|date=19 August 2023 }}, ''[[YouTube]]'', 4 September 2003</ref>}}

	==Legacy, influence and innovation==		==Legacy, influence and innovation==

← Previous revision		Revision as of 15:34, 7 November 2024
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	[[File:Laibach wracku raciborz 07 2010 009.jpg\|thumb\|upright=1.2\|right\|Milan Fras and Mina Špiler in concert in 2010]]		[[File:Laibach wracku raciborz 07 2010 009.jpg\|thumb\|upright=1.2\|right\|Milan Fras and Mina Špiler in concert in 2010]]
	In 2011, the group released the box set ''Gesamtkunstwerk – Dokument 81–82'' (''Total Work of Art – Document 81–82''), featuring five vinyl records and a DVD with unreleased studio recordings from the early phases of their career.<ref name="Janjatović171">{{harvnb\|Janjatović\|2024\|p=171}}</ref> The compilation was released in a limited number of 600 copies only.<ref name="Janjatović171"/> During the same year, the band recorded a cover of [[Bob Dylan]]'s "[[Ballad of a Thin Man]]", recorded for the tribute album ''Projekt Bob Dylan: Postani prostovoljec!'' (''Project Bob Dylan: Become a Volunteer''), commissioned by the American Embassy in Ljubljana in honor of Dylan's 70th birthday.<ref name="Janjatović171"/> The band was hired by director [[Timo Vuorensola]] to compose music for his [[science fiction comedy]] film ''[[Iron Sky]]'', and it was released on the [[soundtrack album]] ''Iron Sky'' in 2012.<ref name="Janjatović171"/> The double album ''Iron Sky Director's Cut'' featured their music originally composed for ''Iron Sky'', but eventually not used in the film.<ref name="Janjatović171"/> On 14 April 2012, in the [[Tate Modern Turbine Hall]] the band held a concert which was envisioned as the recreation of their 1983 concert at Zagreb Biennalle, with guest appearances by some of the group's early members.<ref name="Janjatović171"/> The recording of the concert was released on the double live album ''Monumental Retro-Avant-Garde''.<ref name="Janjatović171"/>		In 2011, the group released the box set ''Gesamtkunstwerk – Dokument 81–82'' (''Total Work of Art – Document 81–82''), featuring five vinyl records and a DVD with unreleased studio recordings from the early phases of their career.<ref name="Janjatović171">{{harvnb\|Janjatović\|2024\|p=171}}</ref> The compilation was released in a limited number of 600 copies only.<ref name="Janjatović171"/> During the same year, the band recorded a cover of [[Bob Dylan]]'s "[[Ballad of a Thin Man]]", recorded for the tribute album ''Projekt Bob Dylan: Postani prostovoljec!'' (''Project Bob Dylan: Become a Volunteer!''), commissioned by the American Embassy in Ljubljana in honor of Dylan's 70th birthday.<ref name="Janjatović171"/> The band was hired by director [[Timo Vuorensola]] to compose music for his [[science fiction comedy]] film ''[[Iron Sky]]'', and it was released on the [[soundtrack album]] ''Iron Sky'' in 2012.<ref name="Janjatović171"/> The double album ''Iron Sky Director's Cut'' featured their music originally composed for ''Iron Sky'', but eventually not used in the film.<ref name="Janjatović171"/> On 14 April 2012, in the [[Tate Modern Turbine Hall]] the band held a concert which was envisioned as the recreation of their 1983 concert at Zagreb Biennalle, with guest appearances by some of the group's early members.<ref name="Janjatović171"/> The recording of the concert was released on the double live album ''Monumental Retro-Avant-Garde''.<ref name="Janjatović171"/>

	In 2014, Laibach released the album ''Spectre'', the title referring to the first line of ''[[The Communist Manifesto]]''.<ref name="Janjatović171"/> The band dedicated the album songs "Eurovision", "The Whistleblowers" (musically based on "[[Colonel Bogey March]]"), "We Are Millions and Millions Are One" (featuring new member Mina Špiler on lead vocals) and "No History" to [[Julian Assange]] and [[Edward Snowden]].<ref name="Janjatović171"/> The [[deluxe edition]] of the album featured four bonus tracks, including a cover of [[Blind Lemon Jefferson]]'s "[[See That My Grave Is Kept Clean]]" and [[Serge Gainsbourg]]'s "[[Love on the Beat]]", and a book entitled ''Spectre Playbook'', a Laibach "manifesto" with a goal of uniting social activists from around the world.<ref name="Janjatović171"/> The album ''Spectremix'', released in 2015, featured ''Spectre'' songs remixes by [[Marcel Dettmann]], [[Gramatik]], Iztok Turk and other artists.<ref name="Janjatović171"/> During 2014, the band was invited by National Cultural Centre of Poland to record music for the commemoration of the 70th anniversary of the outbreak of the [[Warsaw Uprising]].<ref name="Janjatović171"/> The band released the material on the [[Extended play\|EP]] ''1 VIII 1944 Warszawa'',<ref name="Janjatović171"/> featuring a version of the classic song of the insurgency "Warszawskie Dzieci" ("Children of Warsaw"),<ref>{{cite news\|url=http://www.thenews.pl/1/11/Artykul/176305,Laibach-to-release-Warsaw-Rising-tribute/\|title=Laibach to release Warsaw Rising tribute\|website=PolskieRadio.pl\|date=15 July 2014\|access-date=4 April 2015\|archive-date=11 April 2015\|archive-url=https://web.archive.org/web/20150411162846/http://www.thenews.pl/1/11/Artykul/176305,Laibach-to-release-Warsaw-Rising-tribute/\|url-status=live}}</ref>		In 2014, Laibach released the album ''Spectre'', the title referring to the first line of ''[[The Communist Manifesto]]''.<ref name="Janjatović171"/> The band dedicated the album songs "Eurovision", "The Whistleblowers" (musically based on "[[Colonel Bogey March]]"), "We Are Millions and Millions Are One" (featuring new member Mina Špiler on lead vocals) and "No History" to [[Julian Assange]] and [[Edward Snowden]].<ref name="Janjatović171"/> The [[deluxe edition]] of the album featured four bonus tracks, including a cover of [[Blind Lemon Jefferson]]'s "[[See That My Grave Is Kept Clean]]" and [[Serge Gainsbourg]]'s "[[Love on the Beat]]", and a book entitled ''Spectre Playbook'', a Laibach "manifesto" with a goal of uniting social activists from around the world.<ref name="Janjatović171"/> The album ''Spectremix'', released in 2015, featured ''Spectre'' songs remixes by [[Marcel Dettmann]], [[Gramatik]], Iztok Turk and other artists.<ref name="Janjatović171"/> During 2014, the band was invited by National Cultural Centre of Poland to record music for the commemoration of the 70th anniversary of the outbreak of the [[Warsaw Uprising]].<ref name="Janjatović171"/> The band released the material on the [[Extended play\|EP]] ''1 VIII 1944 Warszawa'',<ref name="Janjatović171"/> featuring a version of the classic song of the insurgency "Warszawskie Dzieci" ("Children of Warsaw"),<ref>{{cite news\|url=http://www.thenews.pl/1/11/Artykul/176305,Laibach-to-release-Warsaw-Rising-tribute/\|title=Laibach to release Warsaw Rising tribute\|website=PolskieRadio.pl\|date=15 July 2014\|access-date=4 April 2015\|archive-date=11 April 2015\|archive-url=https://web.archive.org/web/20150411162846/http://www.thenews.pl/1/11/Artykul/176305,Laibach-to-release-Warsaw-Rising-tribute/\|url-status=live}}</ref>

← Previous revision		Revision as of 14:58, 7 November 2024
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	Laibach's following release was the live album ''The Occupied Europe Tour 1985'', featuring a choice of recordings from their concerts in Ljubljana, Hamburg and London.<ref name="Janjatović170"/> In June 1986, the band held four concerts in England, the mini-tour being entitled ''Laibach Over America''.<ref name="Janjatović170"/> During their staying in London, they recorded three songs for a [[List of Peel sessions\|John Peel session]],<ref name="Janjatović170"/> and performed with the [[Michael Clark (dancer)\|Michael Clark]] dance company in London and [[Manchester]], in the company's play ''No Fire Escape from Hell''.<ref name="Janjatović170"/> On 10 October 1986, the group performed in [[Graz]], [[Austria]], on the festival entitled Concert for the Abolishment of Fascist Trade Unions.<ref name="Janjatović170"/>		Laibach's following release was the live album ''The Occupied Europe Tour 1985'', featuring a choice of recordings from their concerts in Ljubljana, Hamburg and London.<ref name="Janjatović170"/> In June 1986, the band held four concerts in England, the mini-tour being entitled ''Laibach Over America''.<ref name="Janjatović170"/> During their staying in London, they recorded three songs for a [[List of Peel sessions\|John Peel session]],<ref name="Janjatović170"/> and performed with the [[Michael Clark (dancer)\|Michael Clark]] dance company in London and [[Manchester]], in the company's play ''No Fire Escape from Hell''.<ref name="Janjatović170"/> On 10 October 1986, the group performed in [[Graz]], [[Austria]], on the festival entitled Concert for the Abolishment of Fascist Trade Unions.<ref name="Janjatović170"/>

	Having signed for [[Mute Records]], Laibach started recording their third studio album, ''[[Opus Dei (album)\|Opus Dei]]'', working with composer [[Slavko Avsenik Jr.]]<ref name="Janjatović170"/> The [[Album cover\|inner sleeve]] of the cover featured a [[swastika]] consisting of four bloodied axes designed by [[John Heartfield]], an anti-Nazi artist.<ref name="Janjatović170"/> The record was sold secretly in some European countries, as the meaning of the cover was not recognized.<ref name="Janjatović170"/><ref name="megla219"/> The group achieved commercial success with the cover versions of "[[Live Is Life]]" by [[Opus (Austrian band)\|Opus]], entitled "Life Is Life", and "[[One Vision]]" by [[Queen (band)\|Queen]], entitled "Geburt einer Nation" ("Birth of a Nation"), which would mark the direction of their future releases.<ref name="Janjatović170"/> The track "How the West Was Won" was also well-received by the audience.<ref name="Janjatović170"/> The usage of the name ''Opus Dei'' caused the [[Opus Dei\|Catholic institution of the same name]] to sue the group, but the case was eventually decided in favor of Laibach.<ref name="Janjatović170"/> Following the album release, the group embarked on the United States of Europe Tour, during which they stated at a press conference in [[France]] that their influences are [[Josip Broz Tito\|Tito]], [[Toto (band)\|Toto]], and [[Jacques Tati\|Tati]].<ref name="Janjatović170"/> On 7 April 1987, they recorded three more songs for a John Peel session.<ref name="Janjatović170"/> During May, they once again performed in Clark's company ''No Fire Escape from Hell'' play, in [[Brighton]] and [[Leicester]].<ref name="Janjatović170"/> On 28 July, they presented the work of Neue Slowenische Kunst at the [[London International Festival of Theatre]].<ref name="Janjatović170"/> With Clark's company they performed in [[Los Angeles]], holding three performances in September 1987.<ref name="Janjatović170"/> In the [[United States]] they were invited to a reception hosted by the [[Embassy of the United Kingdom, Washington, D.C.\|British ambassador]]. They appeared on the reception wearing their uniforms, and the actor [[Walter Gotell]] (known for his role of [[General Gogol]] in [[James Bond]] film series), who was also present on the reception, saw this as a provocation.<ref name="megla219">{{cite book\|last=Megla\|first=Maja\|title=Leksikon YU mitologije\|year=2015\|publisher=Rende – Postscriptum\|location=Belgrade – Zagreb\|page=219}}</ref> In Yugoslavia, the play was performed at the [[Belgrade International Theatre Festival]], however, performance by Laibach and Tito's speeches were omitted.<ref name="Janjatović170"/> In September 1987, ~~they~~ performed in Hamburg's [[Deutsches Schauspielhaus]] production of ''[[Macbeth]]'', for which they also wrote the music.<ref name="Janjatović170"/> The music from the play would be released two years later on the album ''[[Macbeth (album)\|Macbeth]]''.<ref name="Janjatović170"/>		Having signed for [[Mute Records]], Laibach started recording their third studio album, ''[[Opus Dei (album)\|Opus Dei]]'', working with composer [[Slavko Avsenik Jr.]]<ref name="Janjatović170"/> The [[Album cover\|inner sleeve]] of the cover featured a [[swastika]] consisting of four bloodied axes designed by [[John Heartfield]], an anti-Nazi artist.<ref name="Janjatović170"/> The record was sold secretly in some European countries, as the meaning of the cover was not recognized.<ref name="Janjatović170"/><ref name="megla219"/> The group achieved commercial success with the cover versions of "[[Live Is Life]]" by [[Opus (Austrian band)\|Opus]], entitled "Life Is Life", and "[[One Vision]]" by [[Queen (band)\|Queen]], entitled "Geburt einer Nation" ("Birth of a Nation"), which would mark the direction of their future releases.<ref name="Janjatović170"/> The track "How the West Was Won" was also well-received by the audience.<ref name="Janjatović170"/> The usage of the name ''Opus Dei'' caused the [[Opus Dei\|Catholic institution of the same name]] to sue the group, but the case was eventually decided in favor of Laibach.<ref name="Janjatović170"/> Following the album release, the group embarked on the United States of Europe Tour, during which they stated at a press conference in [[France]] that their influences are [[Josip Broz Tito\|Tito]], [[Toto (band)\|Toto]], and [[Jacques Tati\|Tati]].<ref name="Janjatović170"/> On 7 April 1987, they recorded three more songs for a John Peel session.<ref name="Janjatović170"/> During May, they once again performed in Clark's company ''No Fire Escape from Hell'' play, in [[Brighton]] and [[Leicester]].<ref name="Janjatović170"/> On 28 July, they presented the work of Neue Slowenische Kunst at the [[London International Festival of Theatre]].<ref name="Janjatović170"/> With Clark's company they performed in [[Los Angeles]], holding three performances in September 1987.<ref name="Janjatović170"/> In the [[United States]] they were invited to a reception hosted by the [[Embassy of the United Kingdom, Washington, D.C.\|British ambassador]]. They appeared on the reception wearing their uniforms, and the actor [[Walter Gotell]] (known for his role of [[General Gogol]] in [[James Bond]] film series), who was also present on the reception, saw this as a provocation.<ref name="megla219">{{cite book\|last=Megla\|first=Maja\|title=Leksikon YU mitologije\|year=2015\|publisher=Rende – Postscriptum\|location=Belgrade – Zagreb\|page=219}}</ref> In Yugoslavia, the play was performed at the [[Belgrade International Theatre Festival]], however, performance by Laibach and Tito's speeches were omitted.<ref name="Janjatović170"/> In September 1987, the band also performed in Hamburg's [[Deutsches Schauspielhaus]] production of ''[[Macbeth]]'', for which they also wrote the music.<ref name="Janjatović170"/> The music from the play would be released two years later on the album ''[[Macbeth (album)\|Macbeth]]''.<ref name="Janjatović170"/>

	In Yugoslavia, ''Opus Dei'' was released in November 1987 by the state-owned major label [[ZKP RTLJ]].<ref name="Janjatović170"/> The release was followed by the double album ''[[Baptism (Laibach album)\|Krst pod Triglavom – Baptism]]'', featuring the music from the play of the same title.<ref name="Janjatović170"/> The members of the band were invited to a meeting with Jože Osterman, Secretary of the League of Socialist Working People of Ljubljana, who tried to persuade them to change their name to Ljubljana, as, despite the lifting of the ban on the name Laibach, the group's name still sparked occasional controversies in their home country.<ref name="megla219"/> Despite them, the band held a sold-out concert in Ljubljana entitled ''Svoji ka svojim'' (''To Their Own''),<ref name="megla219"/> and Yugoslav [[Lifestyle journalism\|lifestyle]] and entertainment magazine ''Start'' pronounced members of the group the fourth on the list of Best Dressed Men in Yugoslavia.<ref name="megla219"/> After the performance in Ljubljana, the band went on another European tour, during which they appeared at the end of every concert with [[horned helmets]].<ref name="megla219"/> On their performance at the [[Vienna Festival]], they provoked the audience with the intro: "[[Austrians]], You Are [[Germans]]", which almost forced organizers to interrupt the concert.<ref name="megla219"/> Their performance in [[Amsterdam]] was a part of [[European Capital of Culture]] program. During the band's performance on a five-meter–high stage, the performance crew roasted an [[ox]] on a stake on the hall's balcony.<ref name="megla219"/>		In Yugoslavia, ''Opus Dei'' was released in November 1987 by the state-owned major label [[ZKP RTLJ]].<ref name="Janjatović170"/> The release was followed by the double album ''[[Baptism (Laibach album)\|Krst pod Triglavom – Baptism]]'', featuring the music from the play of the same title.<ref name="Janjatović170"/> The members of the band were invited to a meeting with Jože Osterman, Secretary of the League of Socialist Working People of Ljubljana, who tried to persuade them to change their name to Ljubljana, as, despite the lifting of the ban on the name Laibach, the group's name still sparked occasional controversies in their home country.<ref name="megla219"/> Despite them, the band held a sold-out concert in Ljubljana entitled ''Svoji ka svojim'' (''To Their Own''),<ref name="megla219"/> and Yugoslav [[Lifestyle journalism\|lifestyle]] and entertainment magazine ''Start'' pronounced members of the group the fourth on the list of Best Dressed Men in Yugoslavia.<ref name="megla219"/> After the performance in Ljubljana, the band went on another European tour, during which they appeared at the end of every concert with [[horned helmets]].<ref name="megla219"/> On their performance at the [[Vienna Festival]], they provoked the audience with the intro: "[[Austrians]], You Are [[Germans]]", which almost forced organizers to interrupt the concert.<ref name="megla219"/> Their performance in [[Amsterdam]] was a part of [[European Capital of Culture]] program. During the band's performance on a five-meter–high stage, the performance crew roasted an [[ox]] on a stake on the hall's balcony.<ref name="megla219"/>

← Previous revision		Revision as of 14:51, 7 November 2024
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	On 7 October 1984, Laibach officially founded the informal art collective [[Neue Slowenische Kunst]] (German for ''New Slovene Art'') with [[visual arts]] group [[IRWIN]] and [[Scipion Nasice Sisters Theatre\|Scipion Nasice Sisters]] and Rdeči Pilot (''Red Pilot'') theatre groups.<ref name="Janjatović170"/> They were later joined by Novi kolektivizam (''New Collectivism'') [[design studio]], Graditelji (''Builders'') [[architecture bureau]], Retrovizija (''Retrovision'') film group and the Odeljenje za čisto in praktično filozofijo (''Section for Clean and Practical Philosophy'') group.<ref name="Janjatović170"/> The band also started two musical side projects, Germania and [[300.000 V.K.]]<ref name="Janjatović170"/> On 21 December 1984, Laibach held a concert dedicated to the late Hostnik at the Malči Belič Hall in Ljubljana.<ref name="Janjatović170"/> Due to the fact that they were still banned from using the name Laibach, they announced the concert with posters featuring only a black cross, the initials of the hall, and date and time of the concert.<ref name="megla218"/>		On 7 October 1984, Laibach officially founded the informal art collective [[Neue Slowenische Kunst]] (German for ''New Slovene Art'') with [[visual arts]] group [[IRWIN]] and [[Scipion Nasice Sisters Theatre\|Scipion Nasice Sisters]] and Rdeči Pilot (''Red Pilot'') theatre groups.<ref name="Janjatović170"/> They were later joined by Novi kolektivizam (''New Collectivism'') [[design studio]], Graditelji (''Builders'') [[architecture bureau]], Retrovizija (''Retrovision'') film group and the Odeljenje za čisto in praktično filozofijo (''Section for Clean and Practical Philosophy'') group.<ref name="Janjatović170"/> The band also started two musical side projects, Germania and [[300.000 V.K.]]<ref name="Janjatović170"/> On 21 December 1984, Laibach held a concert dedicated to the late Hostnik at the Malči Belič Hall in Ljubljana.<ref name="Janjatović170"/> Due to the fact that they were still banned from using the name Laibach, they announced the concert with posters featuring only a black cross, the initials of the hall, and date and time of the concert.<ref name="megla218"/>

	The following year, the group released their debut studio album, ''[[Laibach (album)\|Laibach]]'', through the Ljubljana Students' Cultural Center's label Ropot.<ref name="Janjatović170"/> Due to the ban of the name Laibach, the cover featured the group's trademark black cross without any text.<ref name="Janjatović170"/> On one of the album tracks, the band used a sample from a speech by Josip Broz Tito, however it was removed by the state censors.<ref name="Janjatović170"/> During the same year, the German label WUS released Laibach compilation album ''[[Rekapitulacija 1980–1984]]'' (''Recapitulation 1980–1984'').<ref name="Janjatović170"/> The recording of their performance at the Neu Konservatiw festival in [[Hamburg]] on 15 June 1985 was released on the live album ''[[Neu Konservatiw]]''.<ref name="Janjatović170"/> At the end of the year, the band once more held a number of performances in [[West Germany]], this time under the title ''Die erste bombardierung – Laibach über dem Deutschland'' (''The First Bombing – Laibach Over Germany'').<ref name="Janjatović170"/> The concerts featured hunting imagery, like axes and [[Trophy hunting\|trophy antlers]], and during the concerts, the band members sawed wood on stage, surrounded by live tranquilized rabbits.<ref name="megla218"/>		The following year, the group released their debut studio album, ''[[Laibach (album)\|Laibach]]'', through the Ljubljana Students' Cultural Center's label Ropot.<ref name="Janjatović170"/> Due to the ban of the name Laibach, the cover featured the group's trademark black cross without any text.<ref name="Janjatović170"/> On one of the album tracks, the band used a sample from a speech by Josip Broz Tito, however, it was removed by the state censors.<ref name="Janjatović170"/> During the same year, the German label WUS released Laibach compilation album ''[[Rekapitulacija 1980–1984]]'' (''Recapitulation 1980–1984'').<ref name="Janjatović170"/> The recording of their performance at the Neu Konservatiw festival in [[Hamburg]] on 15 June 1985 was released on the live album ''[[Neu Konservatiw]]''.<ref name="Janjatović170"/> At the end of the year, the band once more held a number of performances in [[West Germany]], this time under the title ''Die erste bombardierung – Laibach über dem Deutschland'' (''The First Bombing – Laibach Over Germany'').<ref name="Janjatović170"/> The concerts featured hunting imagery, like axes and [[Trophy hunting\|trophy antlers]], and during the concerts, the band members sawed wood on stage, surrounded by live tranquilized rabbits.<ref name="megla218"/>

	On 6 February 1986, with the Scipion Nasice Sisters Theatre, the group premiered their own play ''Krst pod Triglavom'' (''Baptism Under Triglav'') at the Ljubljana's [[Cankar Centre\|Cankar Hall]].<ref name="Janjatović170"/> The performance was followed by a [[Round table (discussion)\|round table]] about the ban of the name Laibach, organized in Ljubljana. The discussion featured academics, representatives of political organizations and authorities, including the president of the Assembly of the City of Ljubljana Tina Tomlje.<ref name="megla218"/> In a TV interview, Tomlje stated that she was informed of the quality of the band's works and of the success they had achieved abroad, but that they would not be allowed to perform in Ljubljana under the name Laibach.<ref name="megla218"/> Soon after, the group released their second studio album, ''[[Nova Akropola]]'' (''The New Acropolis''), via British independent record label [[Cherry Red Records]].<ref name="Janjatović170"/> After the album release, the [[League of Socialist Youth of Yugoslavia\|League of Socialist Youth of Slovenia]] on their 12th congress demanded the ban on the usage of the name Laibach to be lifted.<ref name="Janjatović170"/> The band was officially lifted on 4 April 1985, and the group performed their first legal concert in Slovenia under the name Laibach already on the following day, in [[Hum, Brda\|Hum]], entitled ''Krvava gruda, plodna zemlja'' (''Bloody Land, Fertile Soil'').<ref name="Janjatović170"/> On the [[Youth Day#Yugoslavia\|Yugoslav Youth Day]], the League of Socialist Youth of Slovenia awarded Neue Slowenische Kunst with a plaque, and the League's official magazine ''[[Mladina]]'' awarded the collective with the Zlata ptica (''The Golden Bird'') award.<ref name="Janjatović170"/>		On 6 February 1986, with the Scipion Nasice Sisters Theatre, the group premiered their own play ''Krst pod Triglavom'' (''Baptism Under Triglav'') at the Ljubljana's [[Cankar Centre\|Cankar Hall]].<ref name="Janjatović170"/> The performance was followed by a [[Round table (discussion)\|round table]] about the ban of the name Laibach, organized in Ljubljana. The discussion featured academics, representatives of political organizations and authorities, including the president of the Assembly of the City of Ljubljana Tina Tomlje.<ref name="megla218"/> In a TV interview, Tomlje stated that she was informed of the quality of the band's works and of the success they had achieved abroad, but that they would not be allowed to perform in Ljubljana under the name Laibach.<ref name="megla218"/> Soon after, the group released their second studio album, ''[[Nova Akropola]]'' (''The New Acropolis''), via British independent record label [[Cherry Red Records]].<ref name="Janjatović170"/> After the album release, the [[League of Socialist Youth of Yugoslavia\|League of Socialist Youth of Slovenia]] on their 12th congress demanded the ban on the usage of the name Laibach to be lifted.<ref name="Janjatović170"/> The band was officially lifted on 4 April 1985, and the group performed their first legal concert in Slovenia under the name Laibach already on the following day, in [[Hum, Brda\|Hum]], entitled ''Krvava gruda, plodna zemlja'' (''Bloody Land, Fertile Soil'').<ref name="Janjatović170"/> On the [[Youth Day#Yugoslavia\|Yugoslav Youth Day]], the League of Socialist Youth of Slovenia awarded Neue Slowenische Kunst with a plaque, and the League's official magazine ''[[Mladina]]'' awarded the collective with the Zlata ptica (''The Golden Bird'') award.<ref name="Janjatović170"/>