Friday, September 23, 2016

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4 comments:

  1. What brought this on?
    I am very fond of Laibach up until the Let It Be album.

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  2. i was just struck by how many cover versions they had done, and how many of had these very high production values promo videos. right from the start. Did Mute pay for them? they seem on a par with Depeche Mode's videos of the same era, gloss wise, but i shouldn't have thought Laibach were selling as many records by a long shot. I find the idea of Laibach more entertaining than the reality, on the whole - still got bad memories of the night i had to review all six versions of 'sympathy for the devil' for melody maker singles column, conscientious chappie that i am I played all of them all the way through, this at about 4 AM. But i do really like Kapital (recommendation of Mr Moon Wiring Club).

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    Replies
    1. From what I can remember yeah, Mute did out a fair amount of money behind them: the label was pretty good about redistributing their Depeche Mode and Erasure profits to push smaller acts, and to be fair Laibach had some crossover potential back in 86-89 before the novelty wore off.

      They did a bit of good earlier stuff that wasn't covers-based, and a lot of the covers were only nominally related to the original tune, yielding some good industrial sounds: they did a great Kraftwerk-style version of Einer Nation called 'Oktober'. But come 1994 they were getting a bit Euro-techno and sill flogging the ''covers that highlight fascist overtones in the original songs" horse. That's where I tapped out. I get the impression they've stayed much the same ever since.

      The Wire did a Very Serious piece about them a few years ago, which was like ten pages of Pseuds Corner.

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  3. This is a band I decided never to listen to, as I feared that they would never sound as good as I imagined they sounded.

    Like all those Aussie punk bands (Radio Birdman, New Christs) who are better off imagined than actually experienced.

    Bit of a Borat vibe also going on with Laibach, I feel.

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