 |
|
Laibach, "Anthems"
Mute
Essentially a formulaic, gimmicky act that only occasionally impresses,Laibach's long career has largely been defined, as well as hindered, bywhat the New York Times once called a "crypto-totalitarianism" thatpervades its work. The project's dubious perceived politics, oftensimultaneously inferred and contradicted by the collective's murkyartistic ethos and unbelievable over-the-top theatrics, injected a doseof controversy into their overblown music, guaranteeing them attentionfrom listeners on both sides of the ideological spectrum. Anthems,a dual disc retrospective of the Slovenian band's two decades of work,chronologically works backwards, beginning with a bouncy, danceableremix of "Das Spiel Ist Aus," the second single off last year'ssurprising and impressive 'WAT' album. Also from that album, "Tanz MitLaibach", arguably the best track ever to come from the band, finallygets the blend of pounding techno and bombastic eurocentricism right,after years of prior attempts with largely sketchy results. Continuingon, forgettable numbers like "Alle Gegen Alle" and "Wirtschaft Ist Tot"set the tone for the overall mediocrity that pervades the rest of thisdisc. "God Is God" indulges in tiresome KMFDM-styled guitar riffs overrepetitive beats and an all-too-familiar male chorus, while the quirkyformer club staple "Geburt Einer Nation" brings back vivid memories ofNew York City goth/industrial nightclubs with its populist march. Ofcourse, a handful of their notorious and downright laughable coversongs (The Beatles' "Get Back" and Europe's "Final Countdown", amongothers) made the cut and those Germanic Cookie Monster vocals that areso undeniably Laibach only intensify just how embarassing these trackstruly are. Fortunately, Laibach sheds some of the hokey stigma whenscales back its excessive use of orchestral elements, as displayed bythe inclusion of earlier tracks such as "Die Liebe" and "Brat Moj". Thesecond disc, comprised of previously available as well as unreleasedremixes of Laibach material, is largely unimpressive, though there area couple of notable exceptions. "Wir Tanzen Ado Hinkel", the ZetaReticula remix of "Tanz Mit Laibach", strips back the intensity of theoriginal, treating the vocals with a robotic-sounding effect and layingdown beats of an equally mechanical quality. Juno Reactor actuallymakes "Final Countdown" remarkably listenable with an invigoratingfloorfiller akin to his mid-nineties material and should certainlyplease anyone familiar with his pre-"Pistolero" work. All in all, Anthemsis a fair, but ultimately unsuccessful, attempt by Mute to hype up andglorify the backcatalog of a largely mediocre, self-indulgent act. Thisnew entry in the probably EMI-influenced pillaging of the Muteindustrial archives of the 1990s fails to meet the mark set by therecent projects set forth for infinitely more worthy acts likeThrobbing Gristle and Cabaret Voltaire.
Essentially a formulaic, gimmicky act that only occasionally impresses,Laibach's long career has largely been defined, as well as hindered, bywhat the New York Times once called a "crypto-totalitarianism" thatpervades its work. The project's dubious perceived politics, oftensimultaneously inferred and contradicted by the collective's murkyartistic ethos and unbelievable over-the-top theatrics, injected a doseof controversy into their overblown music, guaranteeing them attentionfrom listeners on both sides of the ideological spectrum. Anthems,a dual disc retrospective of the Slovenian band's two decades of work,chronologically works backwards, beginning with a bouncy, danceableremix of "Das Spiel Ist Aus," the second single off last year'ssurprising and impressive 'WAT' album. Also from that album, "Tanz MitLaibach", arguably the best track ever to come from the band, finallygets the blend of pounding techno and bombastic eurocentricism right,after years of prior attempts with largely sketchy results. Continuingon, forgettable numbers like "Alle Gegen Alle" and "Wirtschaft Ist Tot"set the tone for the overall mediocrity that pervades the rest of thisdisc. "God Is God" indulges in tiresome KMFDM-styled guitar riffs overrepetitive beats and an all-too-familiar male chorus, while the quirkyformer club staple "Geburt Einer Nation" brings back vivid memories ofNew York City goth/industrial nightclubs with its populist march. Ofcourse, a handful of their notorious and downright laughable coversongs (The Beatles' "Get Back" and Europe's "Final Countdown", amongothers) made the cut and those Germanic Cookie Monster vocals that areso undeniably Laibach only intensify just how embarassing these trackstruly are. Fortunately, Laibach sheds some of the hokey stigma whenscales back its excessive use of orchestral elements, as displayed bythe inclusion of earlier tracks such as "Die Liebe" and "Brat Moj". Thesecond disc, comprised of previously available as well as unreleasedremixes of Laibach material, is largely unimpressive, though there area couple of notable exceptions. "Wir Tanzen Ado Hinkel", the ZetaReticula remix of "Tanz Mit Laibach", strips back the intensity of theoriginal, treating the vocals with a robotic-sounding effect and layingdown beats of an equally mechanical quality. Juno Reactor actuallymakes "Final Countdown" remarkably listenable with an invigoratingfloorfiller akin to his mid-nineties material and should certainlyplease anyone familiar with his pre-"Pistolero" work. All in all, Anthemsis a fair, but ultimately unsuccessful, attempt by Mute to hype up andglorify the backcatalog of a largely mediocre, self-indulgent act. Thisnew entry in the probably EMI-influenced pillaging of the Muteindustrial archives of the 1990s fails to meet the mark set by therecent projects set forth for infinitely more worthy acts likeThrobbing Gristle and Cabaret Voltaire.
