Laibach

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Controversial Slovenian Post-Industrial band formed 1980 in Trbovlje, at the time Socialist Federal Republic of Yugoslavia.
Laibach is the German name for Slovenia's capital city Ljubljana.

Initially one of the founders of Martial Industrial music, they changed their musical direction to a more Rock-, Pop- and Techno-/Dance-inspired crossover style in later years.
In 2015 Laibach played two shows in North Korea, making them the first 'western' band to perform there.

The band's official members are: Dachauer, Eber, Keller (2) and Saliger.

Actual band members and/or collaborators:
Andrej Lupinc - founding member, bass guitar
Anja Rupel - vocals
Bine Zerko - founding member
Boris Benko - synthesizer
Borut Kržišnik - guitar
Damjan Bizilj - synthesizer
Dan Landin - clarinet
Dare Hočevar - bass guitar
Dejan Knez - founding member, keyboards, electronics, voice, drums
Dragoslav Radojković - drums
Ervin Markošek - drums, keyboards, electronics
Eva Breznikar - vocals, percussion
Fritz Catlin - drums
Ivan Novak - lights, projection, also electronics and voice in a few concerts
Iztok Turk - electronics
Janez Gabrič - drums
Johnatan Langram - vocals
Jože Pegam - saxophone
Lado Jakša - saxophone, keyboards
Luka Jamnik - synthesizer
Marko Košnik - electronics
Matej Mršnik - guitars
Matjaž Pegam - drums
Milan Fras - vocals
Mina Špiler - vocals, synthesizer
Nataša Regovec - vocals, percussion
Nikola Sekulović - bass guitar
Oto Rimele - guitar
Peter Lovšin - guitar
Peter Mlakar - philosopher and public speaker at concerts
Primož Hladnik - synthesizer
Roman Dečman - drums
Sašo Vollmaier - synthesizer
Srečko Bajda - founder, electronics
Tomaž Hostnik - vocals
Tone Dimnik - drums
Uroš Umek - ?
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Albums

Laibach - Through The Occupied Netherlands album art Laibach Through The Occupied Netherlands Staaltape Netherlands 1983 Sell This Version
Št. 12 Laibach - Vstajenje V Berlinu album art Laibach Vstajenje V Berlinu(Cass, Album) Galerija ŠKUC Izdaja Št. 12 Yugoslavia 1984 Sell This Version
Laibach - V2 Live NR. 3 album art Laibach V2 Live NR. 3 V2 Uitgave Netherlands 1985 Sell This Version
Laibach - Laibach album art Laibach Laibach (Album) ŠKUC Yugoslavia 1985 Sell This Version
Laibach - Rekapitulacija 1980-84 album art Laibach Rekapitulacija 1980-84 (Album) Walter Ulbricht Schallfolien Germany 1985 Sell This Version
Laibach - Neu Konservatiw album art Laibach Neu Konservatiw (Album) Not On Label (Laibach) Germany 1985 Sell This Version
STAAL TAPE OOJ Laibach - Ein Schauspieler album art Laibach Ein Schauspieler(Cass) Staaltape STAAL TAPE OOJ Netherlands 1985 Sell This Version
Laibach - The Occupied Europe Tour 1985 album art Laibach The Occupied Europe Tour 1985 (Album) Side Effects UK 1986 Sell This Version
Laibach - Nova Akropola album art Laibach Nova Akropola (Album) Cherry Red Germany, Austria, & Switzerland 1986 Sell This Version
Laibach - Krst Pod Triglavom - Baptism album art Laibach Krst Pod Triglavom - Baptism (Album) Walter Ulbricht Schallfolien, Walter Ulbricht Schallfolien, Walter Ulbricht Schallfolien, Sub Rosa Germany 1987 Sell This Version
Laibach - Opus Dei album art Laibach Opus Dei (Album) Mute UK 1987 Sell This Version
Laibach - Let It Be album art Laibach Let It Be (Album) Mute UK 1988 Sell This Version
Laibach - Sympathy For The Devil album art Laibach Sympathy For The Devil (Album, MiniAlbum, Comp) Mute US 1988 Sell This Version
Laibach - Macbeth album art Laibach Macbeth (Album) Mute UK 1989 Sell This Version
Laibach - Kapital album art Laibach Kapital (Album) Mute Italy 1992 Sell This Version
Laibach - Ljubljana-Zagreb-Beograd album art Laibach Ljubljana-Zagreb-Beograd (Album) The Grey Area, The Grey Area UK 1993 Sell This Version
Laibach - NATO album art Laibach NATO (Album) Mute Germany 1994 Sell This Version
Laibach - Jesus Christ Superstars album art Laibach Jesus Christ Superstars (Album) Mute Germany 1996 Sell This Version
Laibach - Occupied Europe NATO Tour 1994-95 album art Laibach Occupied Europe NATO Tour 1994-95 (Album) The Grey Area, The Grey Area US 1996 Sell This Version
Laibach - M.B. December 21, 1984 album art Laibach M.B. December 21, 1984 (Album) The Grey Area, Mute, NSK Recordings Bulgaria 1997 Sell This Version
Laibach - WAT album art Laibach WAT (Album) Mute, Mute Europe 2003 Sell This Version
Laibach - Volk album art Laibach Volk (Album) Mute, Mute Russia 2006 Sell This Version
none Laibach - Volk Tour, London CC Club 16.04.2007 album art Laibach Volk Tour, London CC Club 16.04.2007(2xCDr, Album, Ltd) Live Here Now none UK & Ireland 2007 Sell This Version
Laibach - Laibachkunstderfuge BWV 1080 album art Laibach Laibachkunstderfuge BWV 1080 (Album) Dallas Records UK 2008 Sell This Version
Laibach - Iron Sky (The Original Film Soundtrack) album art Laibach Iron Sky (The Original Film Soundtrack) (Album) Mute, Mute Europe 2012 Sell This Version

Reviews Show All 12 Reviews

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yegort

yegort

April 1, 2020
Ervin Markošek was also part of the member of Laibach. Why he is not on the base ex members?
sonic-soul

sonic-soul

April 23, 2019
Someone took the pains to write down the lyrics of Perspektive, which are said to be Laibach´s manifesto:

Laibach takes over an organisational system of work, after the model of industrial production and totalitarianism, 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 theater, 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 politicization 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 ultimate 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 practices 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 antagonists into an expression of static, totalitarianism 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, totalitarianism, 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 industrialization of consciousness, which is necessary in the logic of massive, totalitarian, industrial production.

Clear as mud.
Bradx

Bradx

July 25, 2018
edited about 1 year ago
I saw Laibach sometime in the late '80s. First of all a massive bloke in a string vest came on and chopped a large log with an axe for several minutes (he was their coach driver, apparently). Chips of wood were flying everywhere. Then the band came in and joined in the rhythm. Can't remember anything else about it apart from that.
I've got several of their albums and singles but don't seem to listen to them much. Having said that - they were a brilliant band and sublime concept.
They came in for an interview at the radio station I worked in. I didn't do the interview but the woman who conducted it said they were very funny.
Dusty-Rabbits

Dusty-Rabbits

August 2, 2017
I think in the beginning they did so many right moves in creating a martial imagery and a dystopian version of pop tunes, but for growing as a band, they should have made the next step and writing more great songs instead of becoming a sort of cover band...
excel21

excel21

July 19, 2015
First foreign band to be allowed to play in North Korea.
enfantterrible

enfantterrible

March 31, 2004
Here is it. one of the industrial mastermind of all times truly a legend. Laibach gave music another approach. Laibach dare to confront listener with the mythology of history through the art of electronic music.
truly a vanguardist even today. their music and ideas conformed the roots of what now is considered "martial industrial or military industrial".
their works are so varied and absolutely impredictable that are really hard to explain.
from extreme noise to sampling from sampling to intelligent techno and back again. their best works are considered by many their bombastic assaults of machinery and orchestation. their later works are more subtle and less anthemic.

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