Laibach’s classic album from 1987, 'Opus Dei', has been remastered and redesigned.

The album that first brought Laibach to a mass consumption audience, with their unique interpretations of Opus' ‘Live is Life’ and Queen’s ‘One Vision’, and heavy rotation on MTV’s alternative shows and ITV’s The Chart Show. Produced by Rico Conning, it stands as a defining statement of intent and prophecy that the band continues to uphold nearly 40 years later.

The album, remastered from the original tapes, includes an extensive 16-page booklet with new text by Alexi Munroe and photos from the time. The album cover artwork has also had a distinctive redesign that draws on the original and pushes it forward.

The CD box set includes an additional CD of 16 live tracks from the Opus Dei touring that happened between 1987 and 1989.

The original vinyl edition has been unavailable for over 20 years.

TRACK LISTING

LP Tracklist:
1. Leben Heißt Leben (Opus Dei)
2. Geburt Einer Nation (One Vision)
3. Leben-Tod
4. F.I.A.T. (Let It Be)
5. Opus Dei (Life Is Life)
6. Trans-national
7. How The West Was Won
8. The Great Seal

CD Tracklist:

CD1:
1. Leben Heißt Leben (Opus Dei)
2. Geburt Einer Nation (One Vision)
3. Leben-Tod
4. F.I.A.T. (Let It Be)
5. Trans-national
6. How The West Was Won
7. Opus Dei (Life Is Life)
8. The Great Seal
9. Geburt Einer Nation (One Vision) [Eine Richtung Und Ein Volk Version]
10. Leben Heißt Leben (Opus Dei) [Marche Funèbre Version]
11. Geburt Einer Nation (One Vision) [3. Oktober – Kraftbach – Version]

CD2:
1. Leben Heißt Leben (Opus Dei) [Live From London, Queen Elizabeth Hall, 1987]
2. Geburt Einer Nation (One Vision) [Live From Somewhere In Europe/US, 1987-1989]
3. Leben-Tod (Live From Somewhere In Europe/US, 1987-1989)
4. F.I.A.T. (Let It Be) [Live From Paris, Espace Ornano, 1992]
5. Trans-national (Live From Somewhere In Europe/US, 1987-1989)
6. How The West Was Won (Live From Somewhere In Europe/US, 1987-1989)
7. Opus Dei (Life Is Life) [Live From Somewhere In Europe/US, 1987-1989]
8. Leben Heißt Leben (Opus Dei) [Live From Berlin, Quartier Latin, 1987]
9. Geburt Einer Nation (One Vision) [Live From Berlin, Quartier Latin, 1987]
10. Leben-Tod (Live From Berlin, Quartier Latin, 1987)
11. How The West Was Won (Live From Berlin, Quartier Latin, 1987)
12. Geburt Einer Nation (Vienna, Messepalast, Kaiser Franz Josef Reitschule, 1988)
13. Leben-Tod (Live From San Francisco, The I Beam, 1989)
14. Trans-national (Live From San Francisco, The I Beam, 1989)
15. How The West Was Won (Live From San Francisco, The I Beam, 1989)
16. Opus Dei (Life Is Life) [Live From San Francisco, The I Beam, 1989]

Following the release of the Love Is Still Alive EP, the legendary Slovenian group Laibach presents their brand new album and soundtrack for IRON SKY : THE COMING RACE.

The Coming Race (dir. Timo Vuorensola, 2019), was the follow-up to the film Iron Sky (2012) in which Nazis plot to take over the world after lying dormant in a secret military base on the dark side of the moon. Laibach were commissioned to compose the music for the Finnish dark comedy, which achieved cult-status and raised more than $1 million via crowdfunding, with their original soundtrack being widely acclaimed.

The Coming Race see’s humanity trying to survive on the former Nazi moon base, but as supplies are running low, a small band of survivor’s journey to the hollow Earth's core where a power is buried that could save or destroy mankind. Along the way they must fight an ancient shape-shifting reptilian race to save humanity.

This soundtrack is as epic and cinematic as the first, providing a musical journey of orchestral scores with bonus songs featured on the CD and download, including the track ‘The Coming Race’ that adds Slovenian Grammy winner Amaya’s powerful vocals into the Laibach mix.

TRACK LISTING

A1 Title Sequence
A2 Neomenia Moon Base
A3 Moonquake
A4 The Jobsists
A5 Stay Hungry, Stay Foolish
A6 Renate And Obi
A7 Vestal Celestial Amelia
A8 Moon Führer Is Back
A9 Vril-ya
A10 Back To Earth / Crash Landing
A11 Hollow Earth
A12 3310 Blue R7309170
A13 The Promised Land
A14 The City Of Agartha, Pt. 1
A15 The Vril Banquet Hall, Pt. 1

B1 The Vril Banquet Hall, Pt. 2
B2 The City Of Agartha, Pt. 2
B3 First Among Steves
B4 Malcolm Fights Raptors
B5 The Gate To The Holy Grail
B6 Malcolm Fights Vril Jobs And Vril Hitler
B7 The Triceratops Chariot Race
B8 Escape From Earth
B9 Sieg Heil, Mutterfückers!
B10 Zeit Zum Töten
B11 Renate Dies
B12 Escape From The Moon / IExcommunicating Wolfgang

Legendary Slovenian group Laibach return with their new EP LOVE IS STILL ALIVE, via Mute.

The EP is a 40 minute country, dance and electronic masterpiece, featuring different versions of the song Love Is Still Alive. The original song is taken from Laibach’s soundtrack for the sci-fi action film Iron Sky: The Coming Race, and centres around Milan Fras’ unmistakable gravely vocal over an old time country western accompaniment, a musical curveball from a career that defies genres. The Coming Race is the sequel to Iron Sky, which Laibach were commissioned to compose the score for in 2012. The Finnish dark comedy achieved cult-status and raised more than $1 million via crowdfunding. This release follows a series of important theatrical performances and releases from Laibach, and supports their Coming Race tour dates (2022/2023).

TRACK LISTING

1. Love Is Still Alive I (Moon, Euphoria)
2. Love Is Still Alive II (Venus, Libidine)
3. Love Is Still Alive III (Mercury, Dopamine)
4. Love Is Still Alive IV (Neptune, Oxytocin)
5. Love Is Still Alive V (Uranus, Prolactin)
6. Love Is Still Alive VI (Saturn, Insomnia)
7. Love Is Still Alive VII (Jupiter, Tristitia)
8. Love Is Still Alive Viii (Mars, Dysphoria)

Laibach present their brand new album WIR SIND DAS VOLK (Ein Musical aus Deutschland). This album consists of the music from the band’s political theatre production Wir Sind das Volk (We are the People), which premiered at HAU (Berlin) in 2020. The piece was based on the writings of Heiner Müller (1929-1995), who was observed as one of the most significant German-language playwrights and poets since Bertolt Brecht.

The artwork for the new album is by the acclaimed Austrian-Irish visual artist, Gottfried Helnwein, known for his narrative reflecting upon historical and political issues. The cover features his work Epiphany I: Adoration of the Magi, which reflects upon childhood and National Socialism.

TRACK LISTING

VINYL TRACKLIST
A1 Philoktet
A2 Der Vater
A3 Medea Material
B1 Ich Bin Der Engel Der Verzweiflung
B2 Flieger, Grüß Mir Die Sonne
C1 Ordnung Und Disziplin (Müller Versus Brecht)
C2 Lessing Oder Das Ende Der Aufklärung
C3 Traumwald
D1 Im Herbst 197.. Starb… (instrumental)
D2 Ich Will Ein Deutscher Sein
D3 Ich War Die Wunde

CD TRACKLIST
1 Philoktet
2 Der Vater
3 Medea Material
4 Ich Bin Der Engel Der Verzweiflung
5 Flieger, Grüß Mir Die Sonne
6 Ordnung Und Disziplin (Müller Versus Brecht)
7 Lessing Oder Das Ende Der Aufklärung
8 Traumwald
9 Im Herbst 197.. Starb… (instrumental)
10 Ich Will Ein Deutscher Sein
11 Ich War Die Wunde
12 Das Lied Vom Einsamen Mädchen (live)
13 Im Herbst 197.. Starb… (live)
14 Wir Sind Das Volk Nur Durch Die Liebe (Abschlussrede Von Peter Mlakar, Live)

“Silence is worse; all truths that are kept silent become poisonous.”
Friedrich Nietzsche, Thus Spoke Zarathustra

Laibach announce the release of a brand new album, Also Sprach Zarathustra.

The music for the album was originally created for a theatrical production of Thus Spoke Zarathustra (Also Sprach Zarathustra) based on Friedrich Nietzsche’s philosophical novel of the same name, which premiered in March 2016. Also Sprach Zarathustra is an update of the music Laibach created for the play, directed by Matjaž Berger for the Anton Podbevšek Theatre (APT) in Novo Mesto, Slovenia.

35 years on from their genesis in the then-Yugoslavian industrial town Trbovlje, Laibach are still the most internationally acclaimed band to have come out of the former Communist countries of Eastern and Central Europe. Founded in the death year of the country’s founding father Tito, and rising to fame as Yugoslavia steered towards self-destruction, Laibach can make you think, dance and march to the same music.

STAFF COMMENTS

Barry says: Unearthly drones, crisp glassine clicks and haunting ambience, gothic electronics and foreboding vocal abstractions make this yet another next-level dark ambient / classical / drone outing from one of the frontrunners of the scene. Superbly intimidating but brilliantly conceived and executed.

‘Spectre’ follows the band’s widely acclaimed conceptual album ‘Volk’ (2006), where Laibach interpreted national anthems of historically imperialistic nations, and the release of the side projects ‘Laibachkunstderfuge’ (2008) and ‘Iron Sky: The Original Film Soundtrack’ (2012).

Laibach have once again ‘re-invented’ themselves into a newly born, yet polished and solid, formation. And, as is now customary, Laibach call into question all the rigid and cemented interpretations (and prejudices) about themselves, about their music, intentions, philosophy and ideology. Laibach are masters of escape, true escape artists. And yet, despite everything, ‘Spectre’ resonates as a real and full-blooded Laibachian work and nothing else.

With ‘Spectre’ Laibach have created a big, important, and almost dangerous step forward; it seems that this time it has fatally crossed the Rubicon. On this album the group - which has never defined itself politically, but has, nevertheless, constantly analysed politics through its work - comes across as politically engaged as never before. ‘Spectre’ literally sounds like a political manifesto in poetic form. Titles and lyrics couldn’t be more direct. With these lyrics and songs, Laibach, who have always given a controversial impression - or an impression of controversy - especially in terms of its political orientation, is now very clearly taking a position on the political spectrum and probably irreversibly abolishing its own (to some extent quite comfortable) political ‘freedom’ and neutrality.

The album opens with ‘The Whistleblowers’, a contagiously optimistic piece of classic ‘militant and symphonic’ Laibach, sounding like the sequel to Lieutenant F J Ricketts’ 1914 ‘Colonel Bogey March’. ‘No History’ knows no mercy, and leaves no doubt: Laibach require uncompromising action, they demand bravery and boldness and seek heroes “who will be the creed of a new political faith”. And, in one of the verses of this song, listeners can find a mini ‘manifesto’ about the album itself, its sonic expression, and the position of the group in relation to its own history.

In amongst these rallying calls from the band sits a rare Laibach love song: ‘We Are Millions And Millions Are One’ deals with love in today’s impossible times, times which are dangerously close to the fictional reality of classic anti-utopian novels such as Yevgeny Zamyatin’s ‘We’, Laibach’s inspiration for this song.

Ending the album is the elegant utopian song ‘Koran’, a track that shows the possibility of a better and fairer world - on Earth or in the hereafter. Consequently, the album ends with the (in)complete, open, unfinished sound of a piano key.