"get me a light beer"

I have made an important realization that I will now share will you all:

  Laibach  is to  Industrial
as
Spandau Balletis toSynthpop.

Discuss.

Tags:
Current Music: pre-show dj at the Thrill Kill Kult show

14 Responses:

  1. mcgroarty says:

    I never thought Laibach was about industrial. I mean - Jesus Christ Superstar? Let it Be? If it's industrial, it's muppet industrial. Gay industrial at best.

    Whatever else anyone claims, Laibach is all about the pompous too-serious attitudes and the theatrics of the stuff. It's good fun, but it's not hard core. Never was.

    Einstürzende Neubauten has done industrial. I'm sure someone will one-up me several times over on that as well, but industrial should hurt sometimes, and certainly shouldn't ever make you laugh or smile.

    You shouldn't be able to explain industrial to "normal" friends in terms that make them "get it."

    • god dammit.

      nobody ever gets it.

      everybody should have to read the NSK manual. it's very dense and boring. and it's supposed to be.

      laibach is satirical. they don't take themselves that seriously, but they're also not a joke. laibach points out disturbing societal trends (fanatical devotion to and deification of the beatles, for example) in ways that are sometimes poignant, sometimes humorous, sometimes both.

      the music tends to be a lot more palatable if you're comfortable with the concept. it's like listening to wagner's ring cycle* after you understand how tristan's theme operates; you don't HAVE to understand it to enjoy the music, but you're missing out on a lot if you don't.

      that said, laibach has a significant body of work that is completely different from the stuff most people know (ie life is life, gubert einer nation, let it be, god is god). if you've never heard nova akropola or kapital, you're only seeing half the picture.

      GETTING SO TIRED OF THIS CONVERSATION. WHY MUST I ALWAYS COMMENT.

      any representation of fascism in this example is purely coincidental.

      • jwz says:

        Blah blah blah blah blah. My point stands.

      • rpkrajewski says:

        The satire was not always successful, but to me it was pretty clear that as far as subject matter goes, it was "meta"-industrial, which in retrospect was more artistically viable than the real thing.

  2. anthologie says:

    See, I don't think you're saying that each is the epitome of the genre, just that each holds a similar place in its respective genre.

    :)

  3. eaterofhands says:

    Ever since watching my blackbox video I wondered if he was _really_ screaming for someone to bring him a light beer. I always assumed it just sounded like it.

    I admit that I don't know enough synthpop to know who Spandau Ballet is. I'm not sure that is a bad thing.

    • he's saying "gib mir ein leightbilt" (not sure on the spelling), which translates into "give me one vision". they're using the queen song "one vision" to comment on the disturbing fascistic overtends in the "unity" propoganda trend, ala "we are the world".

      it's actually not funny at all when properly contextualized. good and disturbing though. i recommend everybody go listen to the queen song then think about what laibach is doing to it a bit harder.

      • "Leitbild" (and it should be "Geburt einer Nation", despite misspellings in some places). I agree that Laibach can be disturbing at times, but I think it's good to have art that challenges people. I like it because it's stuff that makes me think. That's not something you get much of these days, although as someone on SFGLJ said a while ago, that might change with the Republicans in power again.

        Their brand of satire is topical today, too. Quoted in Laibach's "Drzava":

        "We decant a sea of bloodshed for brotherhood and the equality of our nations and we are not going to allow anybody to touch, to uproot from inside or to destroy in anyway this brotherhood and equality!" - Josip Broz

        Sounds only a little harsher than some of the political rhetoric flying around today, doesn't it?

      • naturalborn says:

        Next you'll be saying 'Louie Louie' isn't a song about fucking

  4. kalischild says:

    Dear God, Jamie, what have you done?

    Were you running low on cynical juice? I think this has got to be the lowest effort-reward investment I've ever seen: with just ten tongue-in-cheek words you've gotten half a dozen people into a completely meaningless debate (involving teutonic grammar lessons, nonetheless). Impressive, yet horribly depressing.

    I hope you did this on purpose. If you did'nt, then skip the light beer, and just lunge towards a decaf cup of wildberry delight tea.

  5. kalischild says:

    Laibach is to Industrial

    AS

    Suzanne Sommers is to Starving African Children

    (Inextricably linked, but not at all representative)

  6. baconmonkey says:

    "industrial" is a useless blanket term much like "techno".
    both describe styles of music which are nearly non-existant, but both are used as umbrella terms to encompass a massive range of styles that have diverged tremendously from a similar/common root.

    what the common american would call "techno", is most likely house or trance. House and techno have actually totally different roots: House from Disco, Techno from Electro. While Trance is more of a hybrid of the two that went off on it's own directions.

    Similarly, most of what people would call Industrial, is the spawn of EBM (term coined around '83-'84 by Front 242 to describe their electro-offshoot sound). Most sub-genres under the "industrial" umbrella are hybrids of EBM with new-wave, rock, disco, metal, goth, trance, d-&-b, electro, etc. Some groups, like Skinny Puppy, borrow heavily from the ancient (1970's) roots of Industrial, and combine it with the current incarnation of EBM.

  7. syphilis says:

    I could use a light beer right about now!