Another review, another reissue. But compared to Imperial Triumphant's "Vile Luxury" remaster the new edition of Laibach's 1987 classic "Opus Dei", which I got at the merch stand before their show at the Pumpehuset in Copenhagen last month undoubtly adds more sonic improvement and further bonus value to the original.
LAIBACH - Opus Dei (remastered 2CD Box) (1987/2024)
Only a couple of weeks ago I've talked about "Opus Dei" in context of their recent tour and also in general I feel that if there's one Laibach album which doesn't require the bazillionth elaborated thinking piece about it, it has to be this one. In the perception of most people who have ever heard of the band Laibach IS "Opus Dei".
With the rest of the tracklist certainly being overshadowed by these first "new originals" of many to come, their infamous cover versions of Opus and Queen (from whom they also aaaalmost stole the main riff of "How The West Was Won"). both exposing the uncomfortable closeness of the mechanisms of Stadium / Party Rock to nationalist propaganda, it also is the most overplayed Laibach album by far. None of its eight iconic tracks can exclusively be found here. Even in the unlikely case that you're a huge Laibach fan but don't own this particukar album, you probably know all songs from shows, live recordings, compilations or alternative mixes and versions. ("The Great Seal" for example later became the official Neue Slowenische Kunst hymn in a marching band version on "Volk".)
My Laibach collection clearly ranks above beginner level, but I actually didn't own any physical copy of this defining masterpiece until I scored a used vinyl copy in 2021. I just felt no urgent need, because the material had been so omnipresent anyway. I guess the absolutely spectacular madness of "Bremenmarsch", that 1987 live recording of a one-off show with additional horns and trumpets, gave me the final nudge to finally seek out the studio album, too.
My record still being so fresh also helped me deciding which format of this reissue I wanted to buy. The whole design and content of this Mute release is very similar to last year's Cherry Red remaster of "Nova Akropola", which means that while the vinyl edition also contains the original album and an extensive booklet, the CD box offers a whole extra disc of more music. So this time the compact disc it was for me.
It could be a bit easier to open, but otherwise it's all good. The cover artwork is updated with a different texture and a touch of red, which I personally slightly prefer over the original, the booklet contains lyrics, credits, photographs and an insightful essay by Alexei Monroe (author of the book "Interrogation Machine Laibach and NSK") whose write-ups always promise and deliver an interesting read.
The first CD contains the studio album, still as raw, harrowing, enigmatic and yes, also fun as ever, but obviously winning boost and clarity. Many production details finally receive the spotlight they always deserved. Great job!
The album is followed by three also remastered remix versions. I'm too lazy to look up where the Marche Funèbre Version of "Leben heißt Leben" and the Eine Richtung und ein Volk Version of "Geburt Einer nation" have been released before, but the 3. Oktober Kraftbach Version of the latter is from a single in occasion of the German reunification in 1990.
And while those tracks are already a great bonus bridging the material back to Kraftwerk and forward to "Kapital", the second discs gives us 16 live versions from several places in Europe (some actually unknown, because the source material hasn't been labelled properly) and San Fransico, recorded between 1987 and 1992.
Of course there are repetitions which can be a little too much when you listen to the whole thing, but on the other hand this random collection of sometimes a bit rough, but always actually listenable live documents is a great showcase of how Laibach have always taken their material into different directions on stage. Here they cultivate their military stomp, there they get almost funky. Here they add lines, even fall into Rock star tropes, there plays a harmonica. More Laibach live recordings - no matter from which era - always means more awesome shit to discover. So here you go!
"Opus Dei" is an undisputably essential classic with an enormous cultural impact and influence, so if you don't own it yet - and even if you are the most casual Laibach fan that has ever lived: Now is the time! Es gibt ein Leben vor dem Tod!
"Leben heißt Leben"
"Geburt einer Nation (One Vison)"
"Opus Dei (Life Is Life)"
With the rest of the tracklist certainly being overshadowed by these first "new originals" of many to come, their infamous cover versions of Opus and Queen (from whom they also aaaalmost stole the main riff of "How The West Was Won"). both exposing the uncomfortable closeness of the mechanisms of Stadium / Party Rock to nationalist propaganda, it also is the most overplayed Laibach album by far. None of its eight iconic tracks can exclusively be found here. Even in the unlikely case that you're a huge Laibach fan but don't own this particukar album, you probably know all songs from shows, live recordings, compilations or alternative mixes and versions. ("The Great Seal" for example later became the official Neue Slowenische Kunst hymn in a marching band version on "Volk".)
My Laibach collection clearly ranks above beginner level, but I actually didn't own any physical copy of this defining masterpiece until I scored a used vinyl copy in 2021. I just felt no urgent need, because the material had been so omnipresent anyway. I guess the absolutely spectacular madness of "Bremenmarsch", that 1987 live recording of a one-off show with additional horns and trumpets, gave me the final nudge to finally seek out the studio album, too.
My record still being so fresh also helped me deciding which format of this reissue I wanted to buy. The whole design and content of this Mute release is very similar to last year's Cherry Red remaster of "Nova Akropola", which means that while the vinyl edition also contains the original album and an extensive booklet, the CD box offers a whole extra disc of more music. So this time the compact disc it was for me.
It could be a bit easier to open, but otherwise it's all good. The cover artwork is updated with a different texture and a touch of red, which I personally slightly prefer over the original, the booklet contains lyrics, credits, photographs and an insightful essay by Alexei Monroe (author of the book "Interrogation Machine Laibach and NSK") whose write-ups always promise and deliver an interesting read.
The first CD contains the studio album, still as raw, harrowing, enigmatic and yes, also fun as ever, but obviously winning boost and clarity. Many production details finally receive the spotlight they always deserved. Great job!
The album is followed by three also remastered remix versions. I'm too lazy to look up where the Marche Funèbre Version of "Leben heißt Leben" and the Eine Richtung und ein Volk Version of "Geburt Einer nation" have been released before, but the 3. Oktober Kraftbach Version of the latter is from a single in occasion of the German reunification in 1990.
And while those tracks are already a great bonus bridging the material back to Kraftwerk and forward to "Kapital", the second discs gives us 16 live versions from several places in Europe (some actually unknown, because the source material hasn't been labelled properly) and San Fransico, recorded between 1987 and 1992.
Of course there are repetitions which can be a little too much when you listen to the whole thing, but on the other hand this random collection of sometimes a bit rough, but always actually listenable live documents is a great showcase of how Laibach have always taken their material into different directions on stage. Here they cultivate their military stomp, there they get almost funky. Here they add lines, even fall into Rock star tropes, there plays a harmonica. More Laibach live recordings - no matter from which era - always means more awesome shit to discover. So here you go!
"Opus Dei" is an undisputably essential classic with an enormous cultural impact and influence, so if you don't own it yet - and even if you are the most casual Laibach fan that has ever lived: Now is the time! Es gibt ein Leben vor dem Tod!
Oh sorry, now that we see it here (and it's featured a couple of times more):
I forgot to mention one obligatory thing, which even after thirty-seven years manymanymany people still can't get their heads around, because they somehow feel a cognitive dissonance between partly German lyrics in a harsh vocal delivery and anti-fascist art. Yes, there is a swastika made of axes. If this rattles you as well, please just google Helmut Herzfeld / John Heartfield! Thanks.
I forgot to mention one obligatory thing, which even after thirty-seven years manymanymany people still can't get their heads around, because they somehow feel a cognitive dissonance between partly German lyrics in a harsh vocal delivery and anti-fascist art. Yes, there is a swastika made of axes. If this rattles you as well, please just google Helmut Herzfeld / John Heartfield! Thanks.
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