Customer Reviews

Volk

5 star:		(4)
4 star:		(6)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Finally... the innovative Laibach is back! Without a doubt, a band with far more potential than their releases of the past decade would indicate. The 80s and early 90s featured groundbreaking works that amazed as much as they entertained... music of unique quality and daring. Each new release was shockingly different from its predessor and each new album was something that had never been done before. It quite literally made one giddy with excitement each time a new release was announced. However, the past couple of CDs left much to be desired... routine and mostly forgettable techno that did not bring anything new to the table.

With Volk, we are presented with the Laibach of old again. Not that this new issue is a rehash of anything that has gone before, but rather, Laibach (along with excellent assistance from Silence) is finally treading new territory again. This is gentler work than the techno period, but is well compenstated for by the fact that it is far more innovative.

The national anthems of 14 countries (to include NSK as the final track) are reworked both lyrically and musically into wonderous new forms. A number of guest vocalists accompany Laibach's usual harshness and combine into something that is both familiar and refreshing. Musically, the predictable techno-beat has been replaced with transciptions of the original source material that surprise and delight. Just listen to the samples to get an idea. As a previous reviewer called it, perhaps the best album of the year.

This new release can be heartily recommended to newcomers as well as to those of us who missed Laibach's incredible ability to reinvent music and put it in its own terms.

Laibach is without a doubt a band with far more potential than their releases of the past decade would indicate. The 80s and early 90s featured groundbreaking works that amazed as much as they entertained... music of unique quality and daring. Each new release was shockingly different from its predessor and each new album was something that had never been done before. It quite literally made one giddy with excitement each time a new release was announced. However, the past couple of CDs left much to be desired... routine and mostly forgettable techno that did not bring anything new to the table.

With Volk, we are presented with the Laibach of old again. Not that this new issue is a rehash of anything that has gone before, but rather, Laibach (along with excellent assistance from Silence) is finally treading new territory again. This is gentler work than the techno period, but is well compenstated for by the fact that it is far more innovative.

The national anthems of 14 countries (to include NSK as the final track) are reworked both lyrically and musically into wonderous new forms. A number of guest vocalists accompany Laibach's usual harshness and combine into something that is both familiar and refreshing. Musically, the predictable techno-beat has been replaced with transciptions of the original source material that surprise and delight. Just listen to the samples to get an idea. As a previous reviewer called it, perhaps the best album of the year.

This new release can be heartily recommended to newcomers as well as to those of us who missed Laibach's incredible ability to reinvent music and put it in its own terms.

"Volk" is a true masterpiece and this is mostly thanks to the impressive productional work of Silence. Laibach in collaboration with Silence members Boris Benkov (lyrics and vocal arangements) and Primoz Hladnik (strings and keyboards arangements) have realesed a serius contender for this year's best album. Needless to say, finding songwriters (producers) capable of bringing this bold idea to life without damaging Laibach's integrity and alienating the band's vast fan base was a delicate task.

When I first heard about the concept for this album, I didn't know whether or not Laibach could pull it off and make it interesting. I did not really think they'd have much to say about some national anthems.

Well, I should have had faith in Laibach. This album is excellent.

I think the best song is Slovania. The lyrical content isn't as good as some others but the music and female vocals are haunting. Francia is also excellent. The song addresses France's problems with its Muslim immigrant population and French identity, set against the Marseillaise. There are not too many musicians, especially in the industrial genre, writing songs today that actually have meaningful content like that.

My one gripe: the liner notes are written in this messy handwriting style that is tough to read.

This is an album only Laibach could create. We long-time fans know that every new album will likely be completely different from the previous one; not only different, but extremely challenging...even "satisfying" in a way. While WAT was dark and brutal (a definite tribute to DAF), with Volk we have light pop. WAT was instantly likable and catchy--it was absolutely some of their best work, and far superior to Jesus Christ Superstar. Volk is........light pop. Even though it is light pop, it is executed brilliantly. The sound quality of this record is amazing. The synthesizers have a crystal-clear quality, and they are perfectly balanced with the strings, piano, childrens' choir, etc.

The source material is comprised of national anthems of states that have had some type of empire in their history, whether territorial (Russia), economic (America), or spiritual (Vaticanae). They are rendered in a typical Laibachian fashion, which creates a product that is barely recognizable compared to the original. For example, España--an historically masculine culture--is presented as cheesy synth pop. Yisrael (one of the best tracks) has a more foreboding style, with "harder" synth sounds accenting what sounds something like a Rhodes piano (I might be wrong). With Vaticanae, they present what seems by far their most religious piece of work; indeed, it almost seems as some sort of deference to God. Instead of the typical grotesque parody, a woman (who is definitely very talented) sings accompanied by an organ, and other voices here and there. It almost sounds like something you might hear if you attend a Latin Mass in an old European stone cathedral.

One thing I dislike about this album is the singing of Boris Benko. He is clearly trying to be very emotional; while he does have a fine voice, his singing style comes across as whiney. Laibach have had many excellent guest vocalists in their time; I'm still not sure why the decided to go with someone who comes across as a whining teen-aged Marilyn Manson. I'm sure that some people will like him, although in my opinion he mars what would otherwise be quite good songs. Oh well.

As a new fan to Laibach, I have been devouring their CD catalog and have yet to be disappointed. Each release was different and it amazes me how diverse they are. I love that they try to come up with new ideas and not try to rehash old styles, etc. I recently saw Laibach at Irving Plaza in NYC and they performed the entire VOLK CD and it was a shame that the setting wasn't more intimate because it really was so moving and powerful and the crowd was talking and not caring about the music. Although not one of my favorite releases from Laibach, it still warrants 4 stars because of its uniqueness and moving music.

Another great view into Laibach's controversial mind. Skipping the euphemisms for now the blatant way of pointing out other countries problems by hitting them where it hurts while supporting the NSK. This album takes the the national anthems of several countries and "pokes fun" at them. In a great "Special 32-page hardbook packaging" it has the appeal of a book to find the CD in a thick paper slip makes it virtually invulnerable to cracking. A much different sound than most of Laibach's music. Rather than a hard industrial it is more of a melodic or computer sound mostly because the influences are national anthems. A great product if I do say so myself.

This album of interpetations of 14 national Anthems floats somewhere between Kapital and Nato- early to mid 90's Laibach period. The album is very electronic with operatic singing- some classical and haunting string and piano- the montone deep voiced slavic -germanic vocals along with some softvoiced multitracked vocals. Its one of a kind for sure but maybe wears itself a little thin after a while- however its a welcome return after all the industrial metal the band has been producing the last few years. Its campy and serious at the same time and very european. The band collective or movement however you perceive it have produced what is a political statement with a soundtrack like feel. Laibach fans will be happy newcomers might have to get acquainted with their unique take on music art and politics. As a longtime fan i find this a solid effort for a band nearly twenty five years into its history.

This is Laibach's most interesting and challenging album since Kapital.

THE AESTHETICS
I have always thought that Laibach was at their best taking others' songs and turning them into something that no one could have imagined, both musically and lyrically. When I first read that the new album was going to based on national anthems, I lacked some faith that they could pull it off. But, they did. The first eight tracks (Germania to Yisra'el) are very good to great. There's a dropoff after that with only Slovania and NSK being very good.

The Best:
-America is the best track on the album. While being a bit melodramatic in its changing of the lyrics (home of the brave becomes gloom of the grave), the Star Spangled Banner melody is retained but adapted to an ambient plodding electronic rhythm. The spoken verses work well and then the whole thing is rounded out by combining a sampled fire and brimstone sermon with increasing musical intensity and almost stream of consiciousness speaking. It's really good. See below for the politics.

-Francia is another great track. It begins with a very ambient series of chords. A woman begins singing La Marseillaise. Then the deep spoken verses begin. As a verse rounds to completion, a very aggressive and slighlty dissonant piano riff kicks in becoming backed by very heavy chords. Similar to America, the song ends with a number of overlapping elements. It's a powerful song.

-Espana changes things up. It's much more upbeat electronic dance music.

-Rossiya is good although be warned, there's a children's choir in it. I suspect this is intended to be ironic but from an aesthetic standpoint, it doesn't really work.

-Yisra'el's verses are based around a higher register organ theme which then is overwhelmed by a very heavy chorus. The book indicates that part of the song is based on the Israeli anthem and part on the Palestinian anthem. You can imagine how different audiences might react.

THE POLITICS
No Laibach album can be really discussed without trying to figure out what it might mean. Laibach is generally very ambiguous about things so it is usually more of a statement of the listener as to what they get from things. Having read (and reviewed!) Alexei Monroe's book, Interrogation Machine, which describes Laibach and NSK in detail, I actually now realize that it is even more difficult than I previously thought. So, here's my take on Volk.

The booklet with the album has a number of quotes regarding views over the last 60-70 years about the English language and by extension some attributes of Anglo-American culture becoming dominant. The implication is that there is some cause for concern although it is not clear that this is being stated overtly. My reaction is to first recognize that with the evolution of human technology, some culture was going to take the first steps to being global in reach. The next question is, "If you had a choice, which would you pick?" Russian? Chinese? German? Indian? Arab? Latin/South America? None of those choices stick out to me as being very good. However bad the warts of Anglo-American free enterprise democracy are, they easily beat these others. People freely risk there lives to come to America. It rarely works the other way around.

So, back to the song America that I like so much. As I said, the lyrics that are sung are a bit melodramatic. But the spoken word sections help make my point. They ask questions of America based on the preamble to the Constitution: "Did you form a perfect union?" "Establish justice?" "Ensure tranquility?" It is easy to say, no, not 100% of the time. However, have any other major countries/cultures tried harder or achieved more. Again, I think the objective answer would be no. Slavery ended in the world because England first worked to end it and then the US fought a very difficult civil war to achieve that at home. Ask yourself again: Would Russia, China, Arabia, India, etc have actively tried to end slavery on their own initiative. Probably not. I think we know what the Germans tried to do in the 20th century so they are a definite no.

So, in the big picture, if you buy my theory in my review of Interrogation Machine that Laibach's point is that people need to get past tribalism/nationalism, etc, then this album makes sense by holding people's self-definition up to the light. I doubt it's very popular but the countries with th best chance of passing the test are the ones with an Anglo-American framework. In these, the individual gets to become who they want to be so that the "tribes" become voluntary without the need for territory or violent opposition to others.

The new album "Volk" from Libach is a bit of a "departure" album for the band. Although they still maintain their overall musical sound, this album is an interpetation album. The album consists of National Anthems of countries throughout the world. And I must say that their interpetations on many of the songs can be a bit haunting and erie while still holding a little bit of their "campy" appeal. If you are a die-hard Libach fan you will appreciate their musicality. If you are "new" to Libach you may want to hold off on buying this album until you become acclimated to their sound. Overall, a very interesting and worthwhile album.