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Laibach
Laibach


Информация
Откуда Slovenia
Жанры Avant-garde
Industrial Metal
Neo-classical Metal
Годы 1980—н.в.
Лейблы Mute Records
См. также Profili Profili
Сайт Website
Состав
Fras
Eber
Saliger
Dachauer
Keller



Альбом Laibach



1987
1.
2.
Koža (Die Haut)
3.
Jaegerspiel
4.
Bogomila (Verfuhrung)
5.
Wienerblut
6.
Crtomir
7.
Jelengar
8.
9.
Herz-Felde
10.
Krst (Die Taufe), Germania
11.
Rdeči Pilot (Der Rote Pilot)
. . .


Laibach takes over an organisational system of work, after the model of industrial production and totalitarism, collective spirit, identification with ideology, which means: not the individual, but the organisation speaks. Our work is industrial, our language political. Laibach is a recognition of time universality. Its organisational activity is an intense agitation and a constant systematic propagating, ideological offensive. Any social activity affects the mass. Laibach functions as a creative allusion of strict institutionality, identification with institution, as stock theatre, or popular culture with a centralized programme. One transmitter and a multitude of receivers, and with a communication through uncommunication. Laibach's musical approach is a move to the area of pure politization of sounds as a means of manipulating the masses. When, in politically and economically complicated situations, the antagonism in society is becoming strained, only force remains as the ultima ratio of social integration. The force must adopt the form of systematic, physical and psychic terror, organized in accordance with social relations. Terror is obtaining a function of productional power, which extorts discipline and an adaptation of the mass, to the existing productional relations, and the existing productional apparatus. For the totalitarian form of government, the systematic terror becomes a constitutional instrument of authority. Through the mystic, erotic-mythological sound, constitution of an ambivalence between fear and fascination, which rudimentarily affects the consciousness of people, through stage performances of ritualized demonstration of political power, and through other manipulative means of an individual, Laibach practises a sound force, in a form of systematic, psycho-physical terror as social organisational principle, in order to effectively discipline and raise a feeling of total adherence bond of a certain, revolted and alienated audience, which results in a state of collective aphasia, which is the principle of social organisation. In this sense, the function of Laibach, sound constructions, and of rock concerts is to challenge collective emotions and automatic associations, and as such it serves as the means of working stimulation. By darkening the consumer's mind, it drives him into a state of humble contrition and total obedience, self-sacrifice, by destroying every trait of individuality, it melts the individuals into a mass, and mass into a humble, collective body. The dualism of Laibach's message, perception and receiver's structure uncovers the social neurosis. Laibach unites the biters and antagonistics into an expression of static, totalitarism cry. Our basic inspiration, ideals which are not ideals to their form,
but the material of Laibach, manipulation of self, remains an industrial production: art of the Third Reich, totalitarism, taylorism, bruitism, disco. Disco rhythm, as a regular repetition, is the purest, the most radical form of the militantly organised rhythmicity of technicist production, and as such the most appropriate means of media manipulation. As an archetypal structural basis of the collective unconscious in a worker mass, it stimulates automatic mechanism, and shapes industrialisation of consciousness, which is necessary in the logic of massive, otalitarian, industrial production.

. . .

Koža (Die Haut)

[Нет текста]

. . .

Jaegerspiel

[Нет текста]

. . .

Bogomila (Verfuhrung)

[Нет текста]

. . .

Wienerblut

[Нет текста]

. . .

Crtomir

[Нет текста]

. . .

Jelengar

[Нет текста]

. . .


Od kdaj, sinovi resnice, ste bratje noc'i?
Kaj roke vas'e s krvjo rdec'i?
Eksplozija v noc'i je roz'a gorja,
opravic'iti z njo se nic'esar ne da.
Razbiti mogoc'e oltarja ni,
oltarja laz'i, ki oblike mnoz'i.
Brezma dez'na slika, brezbolne luc'i,
edina zavetja srhljivih noc'i.
Otroci duha smo in bratje moc'i,
katere obljuka se ne izvrs'i.
Smo c'rni duhovi od tega sveta,
opevarno noro podobo gorja.
Razlaga je bic' in ti krvavis':
Po stotic' razbijte zrcalo sveta, -
vas' trud je zaman. Presegli smo noc':
nas' dolg je poplac'an
in nas'a je luc'.
(Since when, sons of truth, are you the brothers of night?
What colors your hands with the redness of blood?
The explosion in the night is the flower of woe,
nothing can be justified by it.
The altar cannot be destroyed,
the altar of lies, that multiplies shapes.
The spotless picture, the painless light,
the only harbors of the terrible night.
We are the children of the spirit and the brothers of strength,
whose promises are not fulfilled.
We are the black ghosts of this world,
we sing the mad image of woe.
The explanation is the whip and you bleed.
Break the mirror of the world for the hundredth time, -
all your efforts are in vain. We have overcome the night:
our debt has been paid
and the light is ours.)

. . .

Herz-Felde

[Нет текста]

. . .

Krst (Die Taufe), Germania

[Нет текста]

. . .

Rdeči Pilot (Der Rote Pilot)

[Нет текста]

. . .


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