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Volk represents a logical step forward in Laibach's artistic legacy of using music to make social commentary about music itself, and society at large. Before they have taken everything from the Rolling Stones to Zager and Evans and twisted presentation, language, rhythm and lyrics to present mutated, somewhat disturbing industrial classics that question modern western civilization at its most fundamental level. Readymade artists of the musical landscape; wolves amongst the pop sheep.
Conceptually, this album couldn’t be better. Laibach's source material this time is nothing less than the national anthems of 13 nations (the last track being an anthem for Laibach’s own commune/micronation). The national anthems, heavily re-cut, are used as backing tracks for sarcastic political lyrics, offering a scathing criticism of modern foreign relations. Conceptually, the idea of turning what are ostensibly one of a nations great patriotic symbols (though all too often a somewhat kitsch addition to sporting events, largely mimed to) and turning them into assaults on those countries wrapped up in the form of pop music, is brilliant. However, I feel that on this album, Laibach fall somewhat flat on the execution. Though the album has grown on me with a couple of repeated listens, I still have some problems with it. The whole thing seems somewhat flat and textureless: the great dynamics and complex depths of past efforts like Sympathy For the Devil or NATO are barely to be found here. It sounds very much like the whole thing was made on one single synthesizer. Neither is there the driving energy that can propel such music forward, and has for Laibach in the past. All in all, it reminds me, I have to say, rather too much of the German bands that came after Laibach and copied them (Naming no names...). Knowing Laibach, these sonic decisions may have been deliberate, but there comes a point where one must take a balance between art and entertainment, at least in my view. Music like this is at its best when it is both, and Volk unfortunately fails to deliver consistently, though there are still some very good moments to be had on the album. There are points where what sounds like organic piano, human voices and synthesizers merge together in quite a lovely way, and "Nippon", where the synths are all but unheard, is a great piece of evocative, ambient music. The other negative charge I must lay down is an occasional descent into cliché. The preacher sample in "America" and the Stephen Hawking speech synthesizer on "NSK" (reciting a riff on a Churchill speech no less) were two things that really stood out, for a band of Laibach's normal inventiveness. It just seems...lazy, almost.
10 out of 10 for concept, lyrics and artwork. Minus 3 for lacking the real musical edge that defines a great album. Maybe there is something here I am just not getting? Well, I’m sure that it’ll be worth a good few more plays yet, before I’m finished with it, and that’s perhaps the best recommendation I can give.
Quietus
Conceptually, this album couldn’t be better. Laibach's source material this time is nothing less than the national anthems of 13 nations (the last track being an anthem for Laibach’s own commune/micronation). The national anthems, heavily re-cut, are used as backing tracks for sarcastic political lyrics, offering a scathing criticism of modern foreign relations. Conceptually, the idea of turning what are ostensibly one of a nations great patriotic symbols (though all too often a somewhat kitsch addition to sporting events, largely mimed to) and turning them into assaults on those countries wrapped up in the form of pop music, is brilliant. However, I feel that on this album, Laibach fall somewhat flat on the execution. Though the album has grown on me with a couple of repeated listens, I still have some problems with it. The whole thing seems somewhat flat and textureless: the great dynamics and complex depths of past efforts like Sympathy For the Devil or NATO are barely to be found here. It sounds very much like the whole thing was made on one single synthesizer. Neither is there the driving energy that can propel such music forward, and has for Laibach in the past. All in all, it reminds me, I have to say, rather too much of the German bands that came after Laibach and copied them (Naming no names...). Knowing Laibach, these sonic decisions may have been deliberate, but there comes a point where one must take a balance between art and entertainment, at least in my view. Music like this is at its best when it is both, and Volk unfortunately fails to deliver consistently, though there are still some very good moments to be had on the album. There are points where what sounds like organic piano, human voices and synthesizers merge together in quite a lovely way, and "Nippon", where the synths are all but unheard, is a great piece of evocative, ambient music. The other negative charge I must lay down is an occasional descent into cliché. The preacher sample in "America" and the Stephen Hawking speech synthesizer on "NSK" (reciting a riff on a Churchill speech no less) were two things that really stood out, for a band of Laibach's normal inventiveness. It just seems...lazy, almost.
10 out of 10 for concept, lyrics and artwork. Minus 3 for lacking the real musical edge that defines a great album. Maybe there is something here I am just not getting? Well, I’m sure that it’ll be worth a good few more plays yet, before I’m finished with it, and that’s perhaps the best recommendation I can give.
Quietus