@ALBUM: Rekapitulacija 1980-84 BAND: Laibach Released on CD and 2LP (in a box) as Walter Ulbricht Schallfolien WULP 003/4. The CD booklet contains a lot of weird, even frightening, statements in Slovenian and German. I don't know Slovenian, but I've tried to translate everything in German into English. (My German could perhaps be better, but it's quite good nevertheless.) There is a little poem on the front of the sleeve. When Laibach played in Stockholm in November '94, I asked one of the two blokes in the merchandise stand what it meant. He couldn't translate it at once, because Slovenian is difficult to translate (or so he told me), but it is about national rebirth or something. (He didn't speak perfect English and it was quite noisy so I didn't get everything he said...) Sleeve notes: ============= KUNST UND TOTALITARISMUS ART AND TOTALITARISM SCHLIESSEN SICH NICHT AUS. TOTALITAERE ARE NOT MUTUALLY EXCLUSIVE. TOTALITARIAN REGIME HEBEN DIE ILLUSION DER REGIMES CANCEL OUT THE ILLUSION OF THE REVOLUTIONAEREN INDIVIDUELLEN REVOLUTIONARY INDIVIDUAL FREIHEIT DER KUNST AUF. FREEDOM OF ART. LAIBACHKUNST IST DAS PRINZIP DER LAIBACHKUNST (=L. Art) IS THE PRINCIPLE BEWUSSTEN ENTSAGUNG OF THE CONSCIOUS RESIGNATION DES PERSOENLICHEN GESCHMACKS, OF PERSONAL TASTES, DES URTEILS, DER UEBERZEUGUNG... JUDGEMENTS, CONVICTIONS... FREIE ENTPERSOENLICHUNG, FREE DEPERSONALIZATION, FREIWILLIGE UEBERNAHME VOLUNTARY TAKING OVER OF DER ROLLE DER IDEOLOGIE, THE ROLE OF IDEOLOGY, DEMASKIERUNG UND REKAPITULATION UNMASKING AND RECAPITULATION DER REGIME - POSTMODERNISMUS... OF THE REGIME - POST-MODERNISM... [No idea what the last paragraph means, really...] There are lots more in the CD booklet, but it'll take some time to type all that, not to mention translating it into English... The songs are divided into four sections (one LP side each on the vinyl version): RESKRIPCIJA / RESKRIPTION Cari Amici Zmagoslavje Volje Jaruzelsky Smrt Za Smrt RESEKCIJA / RESEKTION Sila Dokumenti Sredi Bojev RESTAVRACIJA / RESTAURATION Panorama 14 Mi Kujemo Bodoc'nost Brat Moj Slovenska Z'ena RESOLUCIJA / RESOLUTION Boji Ti, Ki Izzivas' Perspektive Mars Since neither PC nor Macintosh has the Slovenian special characters, I had to use regular accents placed after the letters. Thus, "c'" is the c with a hacek ("ch" sound), "s'" is the "sh" sound, and "z'" is "zh". I'm sorry, but it's the best I could do if I wanted to keep this a regular ASCII file. @SONG: Cari Amici [Spoken, Italian:] Cari amici soldati i tempi della pace sono passati! (Dear Friends Dear friends soldiers the times of peace are over!) [Taped live in 1982.] @SONG: Zmagoslavje Volje (Triumph des Willens / Triumph Of The Will) (instrumental) @SONG: Jaruzelsky Jaruzelski General Jaruzelsky je imenoval 31. General Jaruzelski hat den 31.August avgustza dan dela in miru. zum tag der Arbeit und des Friedens ernannt. Poudarja: Er betont: OBLAST DIE MACHT JE MORDA NESIMPATIC'NA, MAG VIELLEICHT UNSYMPATISCH SEIN, A EDINA NESMRTNA POT SIE IST JEDOCH DER EINZIGE MIRU IN UNSTERBLICHE WEG DES FRIEDENS STABILIZACIJE! UND DER STABILISATION. (Jaruzelsky General Jaruzelsky pronounced 31 August as a day of Work and Peace. He emphasizes: THE AUTHORITY MIGHT BE UNSYMPATHETIC, BUT IT IS THE ONLY IMMORTAL WAY OF PEACE AND STABILISATION.) @SONG: Smrt Za Smrt Tod fuer Tod pribijali zloc'ince Man hat lebende z'ive na drevesa Verbrecher an Baeume genagelt strahotno muc'ili sie fuerchterlich gefaltert iztiskali oc'i ihnen die Augen ausgestochen rezali us'esa in jezike Ohren und Zungen abgeschnitten jim trli ude die Glieder zermalmt prebadali mis'ice na nadlahteh die Muskeln der Oberarme durchstochen ter jim skozi rane vtikali prekriz'ane roke und die verrenkten Haende in die Wunden gesteckt cele zloc'inske druz'ine pomorili man ermordete ganze Verbrechersippen nekak specialist ein gewisser Spezialist za pobijanje krivih otrok in z'ena zum Toeten der schuldigen Kinder und Frauen katerim so kar z z'epnimi noz'i denen man einfach mit Taschenmessern rezali glave die Koepfe abgetrennt hat smrt za smrt Tod fuer Tod smrt za smrt Tod fuer Tod smrt za smrt Tod fuer Tod smrt Tod (Death For Death Nailing criminals alive to trees cruelly torturing gouging out eyes cutting off ears and tongues crushing their limbs piercing biceps their bound hands thread through their open wounds all criminal families killed some specialist for executing guilty women and children by cutting their heads off with pocket knives Death for death Death for death Death for death Death) @SONG: Sila Macht C'ez nas viharji divjajo. Stuerme wueten ueber uns, Mesta gorijo in telesa. es brennen Staedte und Menschenkoerper! Slast nas stresa Lust durchstroemt uns. Spet se c'es polja Ueber die Fluren lautet glasijo zvoki nas'e govorice, der Klang unserer Worte wider, ki nam molitev je in vrisk. die uns Gebet und Jauchzen sind. Ne, ne dopusti vec', vesoljni bog, O allmaechtiger Gott, lass da bi nas'a sila potonila, unsere Kraft nie mehr schwinden, saj je tako brezmejno sladka, mila... denn sie ist so unendlich suess und lieb... SLAST NAS STRESA! LUST DURCHSTROEMT UNS! (Power Storms rage over us, cities and human bodies are burning. Lust flows through us. Over the land the sound of our words rings out, that are to us prayer and exultation. [Not 100% sure about this verse.] O almighty God, never let our power fail again, for it is so endlessly sweet and dear... LUST FLOWS THROUGH US!) @SONG: Dokumenti (Dokumente / Documents) (instrumental) @SONG: Sredi Bojev Inmitten von Kaempfen Kaks'ni boji! Welche Kaempfe! Sami tuji boji! Nur fremde Kaempfe! Sami tuji boji, Nur fremde Kaempfe, mi pa bi radi bili wir aber wollen S V O J I ! ! ! DASS ES DIE UNSRIGEN SEIEN! (In The Midst Of Warriors Such warriors! Only strange warriors! Only strange warriors, but we would like them to be OURS!) @SONG: Panorama 14 (instrumental) @SONG: Mi Kujemo Bodoc'nost Vsak c'lovek v sehi razplamtel je sile, junas'ka vstal, za borbo stiska pest; nam vsem svobodne zarje so pogum napile, da izkujemo previco in tiranom vest! Ogenj smo, ki za svobodo se je vz'gal, raznetil se, razs'iril, razplamtel v viharje! Smo ogenj, ki iz nas bo vas izz'gal, pjavke nas'e in sence nove zarje... Mi ogenj smo, jeklo, tnalo in kovac'i; pravko kujemo, svobodo v to celino. Mi vstajamo, vstajamo v prostost in rastemo mladostni v s'irino! MI KUJEMO BODOC'NOST! (Wir schmieden die Zukunft Ein jeder Mensch entflammte in sich die Kraefte und erhob sich heldenmuetig, die Faust zum Kampf geballt; aus dem Morgenrot der Freiheit schoepften wir den Mut, den Tyrannen das Gewissen und die Freiheit auszuschmieden! Wir sind wie Feuer, das fuer die Freiheit entbrannte, flammend sich zum Feuersturm entfacht! Wir sind das Feuer, das sich aus uns in eure Herzen frass, unsere Blutegel und Schatten der neuen Morgenršte... Wir sind wie Feuer, Stahl, Amboss und Schmiede. Gerechtigkeit und Freiheit fuegen wir zu einem Ganzen. Wir erheben uns, schreiten hinauf ins Freie und ebnen breit der Jugend ihren Weg. WIR SCHMIEDEN DIE ZUKUNFT!) (We Forge The Future Every man roused the powers within himself and rose like a hero, hand in a fist for the fight; we made courage out of the dawn, to forge conscience and freedom from the tyrants! [???] We are like fire, that burnt for freedom, flaming, heightened to a firestorm! We are the fire, that burnt out of us into your hearts, our leeches and shades of the new light of dawn... We are like fire, steel, anvil and forge. Justice and freedom we join to a whole. We rise, walk out into the free air and smooth the way for youth. WE FORGE THE FUTURE!) @SONG: Brat Moj Bruder mein Brat moj, Bruder mein, spuerst du den Mut, ali c'utis' pogum, ki ga je dvignila zerja den das Morgenrot erweckte v borbi za lepoto sveta? im Kampf um die Schoenheit der Welt? Brat moj, Bruder mein, entzuenden wir priz'gimo kres v vseh ljudeh! die Flamme in jedem Menschen! Bodimo mocni kot garaci, brat moj; Seien wir stark wie der Arbeit Heer,Bruder; mi smo v skrivnosti tajni im geheiligten Geheimnis slutnja in prerokovanje, sind wir Ahnung und Weissagung, mi smo z'ivljenja divju smeh! sind wir des Lebens wildes Lachen! V nas je glad, ki poz'ivi In uns ist Hunger, der zum Leben erweckt in gladnih ne uzmuc'i. und der die Hungrigen nicht plagt. Brat moj, odpri oc'i, Bruder mein, oeffne die Augen und POTUJ Z NAMI K NOVI LUC'I! SCHREITE MIT UNS ZUM NEUEN LICHTE EMPOR! (Brother Of Mine Brother of mine, do you feel the courage, that was wakened by the red light of dawn in the fight for the beauty of the world? Brother, let us light the flame in every man! Let us be strong like the working army, brother; in the holiest of secrets we are premonition and prophecy, we are life's wild laughter! In us is a hunger, that wakens to life and that does not torment the hungry. My brother, open your eyes and GO WITH US UNTO THE NEW LIGHT!) @SONG: Slovenska Z'ena (Slowenische Frau / Slovenian Woman) (instrumental) @SONG: Boji (Kaempfe / Warriors) (instrumental) @SONG: Ti, Ki Izzivas' Du, der du herausforderst Ti, ki izzivas' Du, der du herausforderst, vsaj ne sili v kritje; suche wenigstens nach Deckung nicht; to ni velikega poguma znak. es ist kein Zeichen grossen Mutes. Src'no stopi sam Zieh mannhaft selbst v krvopelitje - in padi, zur Schlacht hinaus - und stirb, C'E SI ZARES JUNAK! WENN DU WIRKLICH EIN HELD BIST! (You Who Challenge You who challenge, at least do not seek cover; it is not a sign of great courage. Go yourself manly to battle - and die, IF YOU REALLY ARE A HERO!) @SONG: Perspektive (Perspektiven / Perspectives) [Spoken in English:] Laibach takes over an organisational system of work, after the model of industrial production and totalitarism, collective spirit, identification with ideology, which means: not the individual, but the organisation speaks. Our work is industrial, our language political. Laibach is a recognition of time universality. Its organisational activity is an intense agitation and a constant systematic propagating, ideological offensive. Any social activity affects the mass. Laibach functions as a creative allusion of strict institutionality, identification with institution, as stock theatre, or popular culture with a centralized programme. One transmitter and a multitude of receivers, and with a communication through uncommunication. Laibach's musical approach is a move to the area of pure politization of sounds as a means of manipulating the masses. When, in politically and economically complicated situations, the antagonism in society is becoming strained, only force remains as the ultima ratio of social integration. The force must adopt the form of systematic, physical and psychic terror, organized in accordance with social relations. Terror is obtaining a function of productional power, which extorts discipline and an adaptation of the mass, to the existing productional relations, and the existing productional apparatus. For the totalitarian form of government, the systematic terror becomes a constitutional instrument of authority. Through the mystic, erotic-mythological sound, constitution of an ambivalence between fear and fascination, which rudimentarily affects the consciousness of people, through stage performances of ritualized demonstration of political power, and through other manipulative means of an individual, Laibach practises a sound force, in a form of systematic, psycho-physical terror as social organisational principle, in order to effectively discipline and raise a feeling of total adherence bond of a certain, revolted and alienated audience, which results in a state of collective [athasia?], which is the principle of social organisation. In this sense, the function of Laibach, sound constructions, and of rock concerts is to challenge collective emotions and automatic associations, and as such it serves as the means of working stimulation. By darkening the consumer's mind, it drives him into a state of humble contrition and total obedience, self-sacrifice, by destroying every trait of individuality, it melts the individuals into a mass, and mass into a humble, collective body. The dualism of Laibach's message, perception and receiver's structure uncovers the social neurosis. Laibach unites the biters and antagonistics into an expression of static, totalitarism cry. Our basic inspiration, ideals which are not ideals to their form, but the material of Laibach, manipulation of self, remains an industrial production: art of the Third Reich, totalitarism, taylorism, bruitism, disco. Disco rhythm, as a regular repetition, is the purest, the most radical form of the militantly organised rhythmicity of technicist production, and as such the most appropriate means of media manipulation. As an archetypal structural basis of the collective unconscious in a worker mass, it stimulates automatic mechanism, and shapes industrialisation of consciousness, which is necessary in the logic of massive, totalitarian, industrial production. [I had to write this one down by ear... Took me hours.] @SONG: Mars (instrumental) @SONG: Laibach-Apologie Seit wann, Soehne der Wahrheit, seid ihr Brueder der Nacht? Was hat eure Haende blutrot gemacht? Der Ausbruch in der Nacht ist die Bluete des Leids, mit ihr kann nichts entschuldigt sein. Nicht zerschlagen laesst sich der Luegenaltar, der Altar der die Form vervielfacht immerdar. Unbeflecktes Bildnis, Lichter ohne Pein, schauriger Naechte Schutz allein Des Geistes Kinder sind wir und Brueder der Nacht, deren Versprechen nicht zustande gebracht. Wir sind schwarze Geister von dieser Welt, besingen des Kummers verrueckte Gestalt Die Erlaeuterung ist die Peitsche, und du tropfest Blut: Zum hundertsten Male zersplittert der Spiegel der Welt, eure Mueh' ist vergeblich; wir haben die Nacht ueberwunden. Unsre Schuld ist beglichen und unser das Licht (Laibach Apology Since when, sons of Truth, are you brothers of the Night? What has made your hands blood red? The outbreak in the night is the flower of pain [?], nothing can be excused by that. The altar of lies will not be broken, the altar that multiplies the form forever. Immaculate portrait, bringer of light [?] without pain, only protection for horrible nights We are children of the ghost [spirit] and brothers of the Night, that does not keep its promises. [?] We are black spirits of this world, we extol the mad shape of sorrow The explanation is the whip, and you drip of blood: Break the mirror of the world for the hundredth time, your hardship is in vain; we have defeated the Night. Our debt is paid and ours is the light) ("Laibach-Apologie" (or "Apologija Laibach" as the Slovenian original version is called) was written in 1982 by then frontman of the band, Tomaz Hostnik, who committed suicide in December that year. I believe it was his suicide note. It doesn't appear as a song on this album, only as a poem (translated into German) in the CD booklet, but it appears on at least three other Laibach albums. A live version is found on "Baptism - Krst Pod Triglavom" (their score for a theatre production). A studio version is found on "Trans Slovenia Express", a 1994 collection of Slovenian bands covering Kraftwerk songs, and on the 1987 album "Slovenska Akropola", released in former Yugoslavia only.) (There is a much better English translation in the book "Neue Slowenische Kunst", but I don't have it.)