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2025-08-25

Digital Delights feat. CYNIC, EXDIRECTORY, FRENDZ, GÛLDUR, LAIBACH and mʊdʌki


Ok, it's time for one of those collective write-ups again! Let's take a look at what has accumulated in the last weeks and months in the way of previously unreviewed small digital purchases and promos of 2025 releases:





GÛLDUR - Between the Moons, the Dead Rivers (2025)

We're easing ourselves into this slowly and steadily with an hour-long Ambient soundtrack for exploring mystical forgotten landscapes and ancient ruins. A lot of this mostly synth-based is beautiful, yet with a touch of eery dark suspension. And since there's not only a certain depressive bleakness in the song titles at play, as well as the Black Metal aesthetics of the artwork, yet the music has that certain nerdy, sometimes almost a bit cheesy tabletop role-playing game vibe and intentionally unpolished production, we don't ever call this Ambient, not even Dark Ambient, but Dungeon Synth!

Breaking this rule thrice is severly punished by either being whipped by a demon, being burned to a crisp by a dragon or being tickled by a horde of goblins! But no worries, despite its misty nocturnal qualities one witching hour of Gûldur's sonic pagan fantasy should be enough to heal you from any mental and bodily wounds those penalizations could cause. 






LAIBACH (feat. BIJELO DUGME) - Die Kanone (2025)

Let's move from one hour of music to just three minutes:

Laibach have released a stomping short single celebrating both the fiftieth birthday of the famous Jugoslavian Folk Rock band Bijelo Dugme with a old school germanized cover version featuring the original artist - and somehow also the recent shift of German industry from cars to weapons, which has always been a good sign, right? (Please visualize this as the famous Anakin & Padme meme!).

The primitive sexual innuendo of lyrics like "I 'll buy a cannon / Someday, sometime / And then I'll be yours / Someday, sometime" is far from subtle, especially when delivered with such a pompous militaristic swing, which makes "Die Kanone" feel like a musical callback to "National Reservation" from Laibach's 1994 classic "NATO".

This song comes in stark contrast to the recent orchestral album "Alamut", which highlights a very different aspect of the Slovenian group's spectrum. Not top material for Laibach's eternal hall of fame, yet still a well executed, silly - yet somehow under the surface actually more serious than you want it to be - catchy little kitschy bombastic ditty.





CYNIC - Earth Is My Witness (2025)

Cynic's latest single actually is an old one, featuring both late band members Sean Malone and Sean Reinert. The very proggy "Earth Is My Witness" had been the bonus track on a special edition of the 2014 album "Kindly Bent To Free Us", which had just been too overpriced for me at the time. But now that this song has finally been released on its own, I gladly take it.

Of course the song could have easily fit on the regular album, but somehow the band had decided that it didn't fit with the overall flow of the album. I don't know... it may bear a little more resemblance to the Spiritual Prog Metal songwriting during the "Traced In Air" phase, but it absolutely wouldn't have bothered me on the album. No question, I'm happy it's finally out there as an official release.





FRENDZ - The Strain (2025)

The Canadian duo frenDZ' debut mini album "The Strain" is one of those releases which makes you think you have figured it all out after a couple of minutes - an Electronic instrumental depiction of a simple little dystopian Sci-Fi story - only to throw you the first curveball with a detour into contemporary Jazz including a smooth trumpet performance.

And as soon as the second track "Tricillium" starts with piano, even more brass and an inkling of Dub, yet then develops into a not quite synthwavy, but still very 80's soundtrack vibe, only to conclude in "Dark Side Of The Moon" Rock atmosphere, you know that anything could happen here. And it does!

Weirder, glitchier, more experimental Electronics, funky guitar licks, Berlin school Ambient mixed with Doom in the style of Pinkish Black, mr. bungleish upbeat Jazz Bass freak-outs, wild jumps from genre to genre all around. This highly entertaining half hour could hardly fly by faster. What a wild ride! There are even some arrangements which sound like Voivod, yet with a non-Metal instrumentation.

The latter should actually be the least surprising part of all, since one half of this project is none other than Voivod bassist Rocky Laroche, whose brilliant performance is mostly very different to what he usually does in the band, yet also impressively solidifies why he's the perfect match over there as well.

I don't know if it's the lack of a physical release, but this amazing side quest should attract way more attention than it's doing so far!





EXDIRECTORY - Vitamine (2025)

A much more 70's-heavy breakfast of Stoner, Prog and Psychedelic Rock is brought to us by the Cologne quintet Exdirectory. With unstoppable grooves, swirling organ (later also smooth electric piano) and space-battling guitars this band doesn't waste much time to jump into full wild action. Given the sheer amount of perfectly executed gradual playful shifts and sudden twists and turns in a relatively short time, it's actually quite remarkable that the whole three-track EP is taken from a completely improvised live session.

Even if you like your Psych to evolve at a more steady pace over longer distances the well-attuned chemistry of these guys is just undeniable. "Vitamine" definitely recommends Exdirectory as a band to look out for live. 





mʊdʌki - The Labyrinth (2025)

Last but not least let's go oomph!oomph!oomph! with some very Experimental dystopian Electronic sounds from Belarussian producer (living in Czechoslovakia) Polina Khatsenka aka mʊdʌki!

This stuff definitely isn't the easiest material to listen to from this bunch, and over sixty minutes of these often very angular loops over stomping, yet not always reliable beats can either be either too damn demanding if you're not in the mood for a sonic post-apocalypse - or an in all its discomfort still hypnotic revelation. Weird and uneasy, but also undoubtly atmospheric. I cannot claim it doesn't intrigue me.

Shout-out to Stoned To Death, who are always very generous with free surprise promos, as I got the download for this - and a couple of older releases by Jah Cuzzi, Jan Tomáš and Klamm & Pelikán with my latest order of cassettes from the label! 






2025-07-04

MIDYEAR TOP 15: my favorite albums of 2025 (so far)

Damn, half of the year is already over again! So here's a very quickly in the moment decided selection of my favorite fifteen albums of 2025 so far. No long write-ups, no distinction between live and studio releases. Just great music!

This is so impossible... more than one release I considered a TOP 5 candidate before is already missing here. But maybe those will return in six months, who knows?


  1. YAZZ AHMED


  2. LAIBACH


  3. CLIPPING.


  4. CHAT PILE


  5. TEMPLE FANG
    Lifted From The Wind


  6. SWANS
    Birthing


  7. IMPERIAL TRIUMPHANT
    Goldstar


  8. NEPTUNIAN MAXIMALISM
    Le Sacre Du Soleil Invaincu


  9. KOENJI HYAKKEI
    Live At Club Goodman


  10. DOPE PURPLE
    Children In The Darkness


  11. MESSA
    The Spin


  12. SOPHIA DJEBEL ROSE
    Sécheresse


  13. DALILA KAYROS
    Khtonie


  14. WREKMEISTER HARMONIES
    Flowers In The Spring


  15. CAUSA SUI
    In Flux





2025-01-12

LAIBACH - Opus Dei Revisited

Two new versions of a decades old album in one year - is that overkill?

After the remastered version of their 1987 classic "Opus Dei", which also included remastered remixes of the time plus sixteen live versions of songs from the album, in December Laibach also released another double album with actually newly recorded versions plus new remixes - "Opus Dei Revisited".

The obvious question: Is this even really necessary?


LAIBACH - Opus Dei Revisited (2LP) (2024)

Since the Slovenes appearantly are in the process of rehashing their whole discography phase by phase, let me extend this question accordingly!

As I have thouroughly discussed in my most-read review of this whole blog, the revisited versions of tracks from Laibach's self-titled debut and "Nova Akropola" are among the best and most laibach things, the band has ever done.

In my humble opinion everything the band has done afterwards however hardly needs to be reworked into completely new arrangements, at least as far as new studio recordings are concerned. Live Laibach have always been adapting their own material according to their recent sound anyway. And what we're hearing on the first half of this release is exactly that: the "Opus Dei" interpretations as the current line-up of the band with Milan Fras and Marina Mårtensson on shared lead vocal duty is performing it.

Laibach live 2024
Like I've reported from Copenhagen and Hanover I'm certainly happy with those new versions. But given that the original studio versions barely cried for improvements, Laibach may have changed the sound and instrumentation of the tracks, which sound less brute and more electronic now, but largely refrained from touching their structure or melodies. So this is far from the deconstruction and complete reshaping of their older material we heard on "Laibach Revisited".
It's still interesting, especially on the B-side with its really exciting take on "Transnational", but ultimately this whole endeavour mostly falls under the category of welcome but unnecessary luxury.

So what does that mean going forward? While I'd love to see long-abandoned songs from any album return to Laibach's setlist, I doubt that any further release needs the revisited treatment. "Opus Dei" really feels as far as one should go and is already balancing on the edge of necessity.

Regarding remasters there's certainly more potential, but not that much too. As I have mentioned before "Let It Be" would be the one album, which I would really love to have remastered, since the original production just isn't that great. "Kapital" obviously asks for a huge box reissue, since the original LP, CD and cassette releases all had those different mixes, versions, even tracklists. So even though I have all three variants, I would wholeheartedly understand a special reissue in that case.
Everything afterwards however should better be left untouched. From "N.A.T.O." on the productions all still hold up, while the need for any radical re-evaluation of the arrangements dwindles.

But back to the album at hand:

You might have noticed that I didn't say anything about the meaning and importance of "Opus Dei" yet. I didn't do so, because there had already been so many opportunities to write about "Leben heißt Leben", "Geburt einer Nation" and so on during the past year, that I just don't see the need to wring out more thoughts about the topic out of my head again. Laibach feel the same. They already had extensive liner notes accompanying the remastered release, so why do it once more?
In consequence this is a slimmer package than the remasters of both "Opus Dei" and "Nova Akropola" (from 2023): no gatefold or booklet, just the once again updated cover artwork with the two records inside plus a little fridge magnet with the artwork. Which is nice, but hey Mute Records, I would have actually prefered a free download of the album instead! Why do more and more labels keep punishing buyers of vinyl versions this way?

Laibach live 2024
Apart from that at least the vinyl version doesn't miss any content compared to the CD this time. There are no bonus tracks, no full extra discs of music missing, which had been an issue with various Laibach albums before.

And speaking of bonus material: Sides C and D are actually just as important for "Opus Dei Revisited" as the first record - and if you're already content with having experienced the new band arrangements live they might even be the main reason to consider purchasing this album. Not the group, but original "Opus Dei" producer Rico Conning revisits the album's master tapes here to build new remixes, which explore the material in a variety of different ways, sometimes closer to Pop or Ambient, in other instances jumping wildly between moods and sounds between aggressive guitar noise and danceable beats. Again "Transnational" is a highlight, this time with obvious references to Kraftwerk's "Autobahn". But also "F.I.A.T.", the mighty finale of "How The West Was Won" or the fantastic Electronic transformation of "The Great Seal", which closes the album after a slightly altered running order, stand out.

So all in all, yes, it's hard to resist this release as a fan. Even though naught of this update was needed and it expectedly fails in clearing the high mark of similar predecessors, after all this still is a very worthwhile album based on an undeniable classic.

In hindsight it might have been more impressive to put all the material - remaster, remixes, revisited and live versions - into one big box. Yet given how long it took to make "Laibach Revisited" and how expensive that box got, this 2-album-solution probably was for the best.







2025-01-08

LAIBACH - I Want To Know What Love Is

So here comes my first review of a 2025 release!

And of course it's from the seemingly hyper-prolific band whose last 2024 album I haven't even covered yet... No signs of tiring in Slovenia!


LAIBACH - I Want To Know What Love Is (download) (2025)

Let's not even pretend that Laibach's latest single is among their most intellectually stimulating, conceptually deep works, when we all know that they only decided to play it, because they happened to love singing it in the tour bus.

I'm actually a little conflicted, because obviously Foreigner's "I Want To Know What Love Is" is a horribly catchy monument of terrible über-schmaltz. On the other hand experiencing it at my last Wacken Open Air in 2016 is actually among my favorite live music moments ever.

And maybe that's the thing: Even though the arrangements by Laibach and Silence, the vocal duet of Milan Fras and Marina Mårtensson, as well as the big mix by Marc Urselli are all great, this song works better as a surprise in the context of their show - as I could witness in Copenhagen and Hanover myself.

However... I can actually apply the same spirit here, just enjoying this release as one more fun proof for the band's incredibly unlimited range, both in sound as in seriousness. And again: There isn't actually anything musically to frown about

The download consists of three mixes, one being extended with the so very atypical live ending, and the Distorted Love Mix, which is the darkest, certainly most Laibach version. Damn, the more I listen to all of those, the more hooked I am. This song is just pure evil. All hail our Dark Lords Foreigner!







2024-12-19

MUSIC 2024 : TOP 5 reissues


Good things always come back, right? - They usually don't? Ok, that sucks. Well, they should. Following that sentiment here are my...

TOP 5 reissues 2024:


  1. "Leben heißt Leben", "Geburt einer Nation", "Leben-Tod", "F.I.A.T."... Laibach's 1987 watershed album "Opus Dei"  has been remastered and with a really improved sound now reveals many details which could easily be missed in the original.
    New artwork, extensive liner notes, a couple of also remastered remixes and a full bonus CD with many great live versions of "Opus Dei" tracks, recorded between 1987 and 1992, complete this absolutely worthwhile 2CD box. (Don't mistake this remastered release with "Opus Dei Revisited"! That's another album with actually new arrangements and mixes of this classic.)






  2. In honour of the late saxophone pioneer's eightieth birthday Repertoire Records re-issued Barbara Thompson's 1980 live show of amazing Jazz Rock with sprinkles of Funk, Latin and Oriental influences and pinches of schmaltz and Disco and added an at least equally compelling bonus compilation focussing on her work on flute. With liner notes from her daughter Ana Gracey this 2CD Fusion treasure chest comes with a lot of love.






  3. New cover, new master. All signs are on having a booming blast with ultra-heavy Electronics of Kevin Martin and Justin Broadrick on their dark and harsh 2001 Industrial-infused Hip Hop classic. Their Brotherhood with a whole bunch of rappers has aged extremely well and should still fill fans of Clipping., Dälek or the classic "Judgement Night" soundtrack with droning joy. Monstrous!






  4. Does this even still count as a reissue? Jazz In Britain took the only and relatively obscure 1974 cassette album "One, Two, Three_ _ _ Go!" of Jazz pianist Gordon Beck's band Gyroscope and beefed it up to an almost four hour chronology of demos, live shows and radio broadcasts on three CDs. Even though the sound quality of these recordings isn't always ideal, there's no escape from the magic of his boundlessly talented and creative band. A stunning and vivid document of British Jazz history.





  5. Blue-ified in true Jazz classic fashion this first ever vinyl pressing of Yazz Ahmed's 2011 debut album is a true beauty inside out. The trumpet player does her first steps in merging Miles Davis-inspired Western Jazz tradition with her Bahraini roots and already shines as a unique creative voice in both impressive band arrangements and magical duets with congenius bass player Janek Gwishada.





favorite MUSIC 2024 - all my lists:

TOP 24 albums   |   TOP 7 live albums   |   TOP 5 reissues







2024-12-06

MUSIC 2024: TOP 24 live shows


Yay, impossible decision season has begun again!

Halvcirkel, Darsombra, Blues Pills, Clipping., Arthur Brown, Yīn Yīn, Myrkur, MessaSpidergawd, Fange, AsphyxBody Void, even Triptykon... I could go on and on and on with names of artists whose shows would be absolutely worthy best of the year material, but somehow still didn't make it into this selection of my favorite 12 club/solo shows + 12 festival shows of 2024.

The state of the world may suck, but except for a disappointing open air experience with King Gizzard and The Lizard Wizard and missing several shows (P/O Massacre, Otay:onii, Bees Made Honey In The Vein TreeLili Refrain...) due to clashes with other tours, at least in regards of live music there has been little to complain about this year.

So here - cast in stone for all eternity (or at least as long as this servive isn't bought and spoiled by a certain kind of billionaire) - is for you my annual live music ranking:


TOP 12 CLUB/SOLO SHOWS 2024:



  1. I know, I know, somehow the Slovenians always seem to end up here. And always with a different kind of performance. It's not an automatic given though. Laibach's celebration of their most popular album in Copenhagen was great, but would have "only" made it to the third or fourth place on this list on its own.
    A couple of months later however their powerful display of Industrial Retrogarde mastery completely blew me away without any circumstances diminishing the experience. Perfection.



  2. What a tribute to Sean Reinert and Sean Malone! Cynic performed their legendary "Focus" album in full. And if you know only the smallest thing about how much this unmatched timeless masterpiece means to me, it should come as zero surprise to find this show so high up here, even though the sound could have been better. But with amazing musicanship, stellar songs and a packed room like here a show will of course survive that. The great Prog Death / Sci-Fi Thrash tour package with Obscura and Cryptosis was the icing on the cake.



  3. For a time they had been so formative for my musical taste, yet somehow I not only stopped following their discography, but also waited decades to finally see the German Experimental / Industrial icons live.
    The presence of Blixa Bargeld, his sonorous chanson voice, dental drill screams and humour, the incredible instrumentation and great songs, mostly from the most recent albums... Dang, am I happy that I could finally strike Einstürzende Neubauten from my bucket list!



  4. I love shows on the MS Stubnitz, I love the Canadian Noise Rock Droners Big|Brave. And when those two come together and give their best, what else can be the result than complete bliss?
    This might have been the best sounding Big|Brave show I've seen so far - and that means a lot, considering that includes several Roadburn performances.
    Ultimately I can only repeat what I asked myself before, bathing inside this sea of deep frequency: Is this how a baby blue whale feels inside the womb?



  5. An event intrinsically too large for me, with too much drama and bullshit inside the pit and the hyped support Jinjer being a rather sobering disappointmenting. Well, that last part had already been counterbalanced by a killer show from Death Metal titans Obituary, when the headliners hit the stage.
    Sepultura on their farewell tour - even with a young last minute drummer and me not being too familiar with most material past "Chaos A.D." - were an unpolished force going out with a spectacular bang!



  6. A mystical musical theater with drummers, dancers, shamans. A fantasy melange of Northern and Eastern European, Tuvan and Mongolian, New Zealandian and probably even Klingon traditions. A show you could disrespectfully call Wagner for mediaval market fans and LARP players. In truth however Heilung's show was a perfectly crafted, overwhelming  transcendent experience. Absolutely breathtaking!
    And seeing Zeal & Ardor as a support act was a more than welcome bonus.



  7. No doubt, 2024 was a Chelsea Wolfe year. With a strong focus on material from her new album "She Reaches Out To She Reaches Out To She" her long-awaited return to Europe became a stunning glimpse of Contemporary Goth heaven.
    And as if witnessing the court of the dark queen alone wouldn't have been enough, finally seeing the Icelandic trio Kælan Mikla as her support act was a great addition to this already magical night.



  8. Sometimes you had to ask yourself how only three people could unleash such an overwhelming inferno of Heavy Psych, fuzzy Doom and Post Metal. Or if it was just the ridiculous overkill of epileptic lights and videos.
    But then the answer was right there: This is Slift. And this French trio simply is a space force like no other right now.



  9. Even though the English Grindcore titans delivered a ferocious killer performance easily worthy of being listed here on its own, this has to be the show where I also include both support bands in the heading. Because with fellow Grinders Wormrot and Sludge devestators Primitive Man it was the perfect package deal, which made this insanely brutal night extra memorable. And the wild audience responce made sure my body remembered it for a while as well. Madness!



  10. Spoiler: Dool are one of two band you'll find in both this and the festival shows list below. Sorry, but I just couldn't resist! The feverish live performances of the Dutch Dark Rock group have been one of the most magnetic experiences on any stage for years and with almost the whole new album in the setlist this intimate club show was no exception. In hindsight I only should have stepped back into the third or fourth row to here significantly more of Raven van Dorst's fantastic vocals. 



  11. Happy Birthday to me! Normally I actually don't celebrate, but this year I did it in style by treating myself to an outstanding show of Korean Jazz vocalist Youn Sun Nah, accompanied by the also very unconventional piano player Bojan Z.. And while the singer's studio albums may have become a little too Pop and tame for my taste, this evening of her interpreting Nina Simone, Björk, Jefferson Airplane, Tom Waits and many more absolutely deserved the flush of standing ovations it got. 



  12. From a birth-day show to one in my birth-place in the northernmost North of Germany! It had been five long years since I had last seen Johanna Sadonis and her hard rocking merry band of Black Sabbath and Heart worshippers live - and it seemed unfathomable how I could have let it come to that. Their mission is not to reinvent the wheel, but when it comes to writing great straight Rock'n'Roll riffs and songs and performing them with a singer in the driver's seat, who just keeps getting better and better - you can hardly surpass Lucifer.





TOP 12 FESTIVAL SHOWS 2024:



  1. "What a super heavy wall of fuzztastic riffs, Psych lead guitars and tasty analogue synth and organ sounds! Full Earth turned the concept of Rock music into an elemental force, an earthquake and storm, shaking, levelling, pulling apart and flooding the room and everyone who was in it."
    That's what I said in my festival report. Or in other words: The extended version of Kanaan delivered what their debut album "Cloud Sculptors" had promised. And it was glorious!



  2. The Belgian collective entered the stage with fewer members than the previous time I had seen them. No second drummer and saxophone, which translated to less Tribal and Spiritual Jazz elements. Instead Neptunian Maximalism brought more Drone, Doom and Black Metal in an immersive larger than life ritual of primal sound, which made me completely loose my grasp on the flow of time.



  3. The return of Rebecca Vernon (SubRosa), performing one of my favorite albums of 2023 was a show I knew I could under no circumstances cut short, since missing the incredibly epic finale "The Truth" would have haunted me for the rest of my days. Lead by the singer (also on keys and guitar) and violinist Andrea Morgan The Keening's whole show was beautiful Gothic/Doom/Folk bliss.  



  4. They didn't have any bad intentions! Hedvig, Ellen and Ivar were just playing in a packed Jazz club - but as soon as the Norwegian trio started the roof caught fire and kept burning on for over seventy minutes. HMT definitely is the correct unit of measurement when it comes to determining the addictiveness of Heavy Prog / Jazz Rock. This Paradox show was an absolute blast!



  5. Ok, since Big|Brave already have a high position in my club show ranking, I could have easily saved this (or the other) spot for another artist, right? They even played the same show consisting of "A Chaos Of Flowers" songs, didn't they? Yes. Yes. But come on, the Drone was just so transcendent and blissful! There's no way around it, this band deserves the double honour. 



  6. Yeah, see Big|Brave! Same same. Dool just always deliver. The festival appearance was shorter than the club show later in the year, but both had similar as well as distinct qualities. With a strong focus on "The Shape Of Fluidity" the Dutch group once again proved to be an excellent reason to visit the prehistoric Balve Cave.



  7. Yin and Yang. Two days, two shows, two parts of an incredible whole. First the fearlessly drawn-out Tangerine Dream-inspired Ambient experience, then the murderous Progressive Death Metal inferno, which made the crowd go completely mental. No doubt, even before the release of "Absolute Elsewhere" Blood Incantation proved that they are a league and cosmos of their own.
     


  8. I don't think anyone was really prepared for how intensly her show would hit them right into the feels. Australian Experimental Noise artist Uboa performed in the middle of the audience, an intimate Electronic set of calming Ambient with an eery undercurrent, which directly corresponded with the physical and mental exhaustion of the crowd, so close to the end of four festival days. The air of the room was thickened with palpable pure emotion. No other show this year even remotely felt like this.



  9. Irish Folk is not a genre I'd normally ever expect ending up in this list. But Lankum's take is of course very special. Their profound, earnest approach, their vocal pitch perfection, mesmerizing instrumentation and haunting Drone made this 013 Main Stage show one the highlights of Roadburn 2024.



  10. Desperate, mourning, scornful and annihilating. Dymna Lotva singer Nokt Aeon lived through it all as a bleeding saintess of peace amongst a raging Post Black Metal storm. The exile Belarusian band  impressively delivered what one of the finest albums of 2023 had promised.



  11. Hey! Finally a chance to see them outside of the Netherlands! Temple Fang, who have released multiple live albums, yet only one studio EP so far are without a doubt a band made for the stage.
    The mastery of their timeless Psychedelic Prog/Blues/Heavy Rock epics will always take you beyond the stars. Hamburg, which they graced exclusively with brand-new material, witnessed no exception from that rule.



  12. Cirith Ungol's abbreviation CU stands for CULT.  Them headlining the ten year anniversary party of the German Deaf Forever print magazine on their farewell tour was my last chance to finally see the influential Heavy / Doom / even Proto-Death Metal legends in the flesh. The band around eccentric shrill singer Tim Baker played a frenetically celebrated show which fired classic after classic and also allowed post reunion material to shine.

    The king is dead, long live the King of the Dead!




favorite MUSIC 2024 - all my lists:

TOP 4 non-album releases   |   TOP 24 live shows







2024-12-03

LAIBACH - The John Peel Sessions

Yes, it's already time for another Laibach review!

So is "Alamut" finally being released? A dozen people could appearantly buy it as a double CD set by Mute Records back in Augsut, but now it's... postponed? I have no idea what's up with that. Especially since there is a complete product out there. Has there been any news about this? Weird.

So meanwhile we keep getting stuff we weren't waiting for nearly as much, but can hardly say no to either. Like this Black Friday vinyl version of the two legendary John Peel radio sessions, which had been broadcast by BBC in 1986 and 1987.


LAIBACH - The John Peel Sessions (Marble Grey vinyl LP) (2002/2024)

So far these sessions were only officially released over twenty years ago on CD by Strange Fruit (which also happens to be the title of a recent Laibach EP; everything is connected) - and that one didn't make it from my Discogs wishlist into my collection yet. So even though I came too late to pre-order this item to the only record store close enough to pick it up personally, I thankfully was able to grab one of the remainders online afterwards.

With a new cover artwork, liner notes and the records marbled in statuesqe grey the release instantly satisfies on the visual side. The sound is also good - within the parameters of what can realistically be expected. Even though the six songs have been remastered you can't really expect a modern sound standards - but hey, it's listenable enough. And of course the aggressive vibe and raw energy  of this document is more important than misplaced audiophilism. Which indeed is a word I just made up, I know.

The first side (1986 session) begins very forceful with the Slovenian classic "Krvava Gruda - Plodna Zemlja", continues with the most obscure track "Krst" and ends with an early version of "Life Is Life", which didn't add "Opus Dei" to the title yet and also sounds somehow cruder and has a slightly less accessible arrangement than the later studio version. But just that glimpse into the evolution of one of Laibach's greatest hits is what makes this so interesting.

The 1987 session on side B continues with two more "Opus Dei" songs, bass and guitar-heavy versions of "Leben-Tod" and "Transnational" - in this spelling without the hyphen. It ends with "Krvoprelitje", also known as "Ti, Ki Izzivaš" in a version which also sounds quite different than in earlier and later performances and recordings. 

Is this a crucial album to understand Laibach? No. However it shows an important step in the band's connection with England and Mute. And of course it's also just Vier Personen playing great noisy, alienating 80's Avantgarde Industrial shit.







2024-12-01

LAIBACH + SILENCE - White Christmas

#firstSundayinAdventreview

A nuisance? An annoyance? A harassment? Christmas music seldom falls into other categories than those three for me. So me actually buying a Christmas music release is a very rare occasion. Boris made me do it with their Shoegaze cover version of "Last Christmas". And now it's Laibach's turn!


LAIBACH + SILENCE - White Christmas (download) (2024)

Not even a month ago Laibach released the deep and bleak digital EP "Strange Fruit". And a look at the colour scheme and graphic details on the cover of this new EP already shows that the two conceptually belong together.
And just like with "Strange Fruit" Laibach and their long-time collaborators Silence easily overcome any doubt of them being able to succesfully tackle the recontextualization of the material.

A melancholic piano, eery synths and faint war noises define the musical backbone of the piece. The duet between the low rasp of Milan Fras and the exceptional dramatic vocals of Boris Benko has been tested many times and is implemented  in touching perfection here.

Once again Laibach interpret the song with the global situation in mind, as an outlook on what more and more Christmas celebrations will look like in the future. In the credits they emphasize that the song had been written by a Russian Jew, who didn't even celebrate Christmas and who dedicated the song to his three-weeks old son who died on Christmas Day. Considering this it probably is no wonder that it immediately feels like something much more substantial than just a jingle for a commercially charged holiday.

The second track "Silence Night" is a different, more ethereal version with less focus on the vocals, which leans more towards the experimental Synth Pop of Silence.

"White Christmas" is a surprisingly profound, beautiful EP, especially if you understand it as the B side to "Strange Fruit".