Ove subote, 5. listopada, bili smo u klubu Boogaloo gdje se u organizaciji Los Angeles Agencyija održao koncert benda Laibach.

Video zapis s koncerta.

“A few lines about Laibach’s concert in Zagreb and how Laibach killed punk in the former Yugoslavia“

Koncerti grupe Laibach opasno se približavaju brojci mojih najposjećenijih koncerata poput Gori Ussi Winnetou i Kud Idijota. Ipak, Laibach je poseban slučaj. Njihov koncert nije tek običan “best of” presjek, nego konceptualno putovanje kroz pažljivo odabrane pjesme, poduprto VJ-ingom punim snažnih poruka na način njihovog prepoznatljivog stila. Njihovi koncerti više su ritual nego nastup, kako bi rekli neki, na granici između umjetničkog performansa i političkog manifesta. Jučerašnji koncert u zagrebačkom klubu Boogaloo bio je ponovna prilika da Laibach predstavi svoj kultni album “Opus Dei” u novom ruhu. Ako već pitate za lokaciju, moram priznati, ne mogu se usporediti s nedavnim nastupom u Malom rimskom kazalištu u Puli. Pula ima onu drevnu magiju, starinski amfiteatar i onaj poseban osjećaj povijesti pod vedrim nebom. Ne, jučerašnja svirka, bez obzira na skučenost prostora u Boogaloo-u, donijela je novu energiju i, usudio bih se reći, intenzivniju atmosferu. Ulaskom u Boogaloo odmah sam primijetio nešto što me je uznemirilo, nekoliko neonacista koji su ušli na koncert. Vidjeti takve likove na koncertu benda koji je, s ironijom, satiričkim komentiranjem totalitarnih sustava i propagandnim vizualima, konstantno provocirao i suprotstavljao se fašizmu, bio paradoksalno. Ipak, moju nelagodu ublažila je poruka koju je Laibach poslao putem video zida “Smrt fašizmu.” Nadam se da su ti momci shvatili poantu.
Publika, iako je bilo jasno da su mnogi došli na “događaj” više nego na koncert, imala je i svoje trenutke frustracije. Da, bilo je pričanja, ali budimo realni ovo je rock mašinerija, a ne kazališna predstava. Laibach na pozornici daje sve, dok publika, po običaju, balansira između zadubljenosti u poruci i povremene potrebe da se zabavi. Kad govorimo o Laibachu i njihovom kultnom albumu “Opus Dei,” tu dolazimo do zanimljivog aspekta njihove umjetničke aproprijacije. Laibach su majstori “prisvajanja” tuđeg rada i preoblikovanja u nešto novo, često ironično. Na ovom koncertu ponovno su pokazali zašto ih se smatra pionirima tog pristupa. Njihova interpretacija pjesme “Live is Life” primjer je te umjetnosti aproprijacije u njenom najboljem obliku. Pretvorili su pjesmu iz banalne himne radosti u ozbiljnu, gotovo militarističku, refleksiju o moći i autoritetu.

Neki bi rekli da je to vampiriziranje tuđeg rada, uzimanje tuđe pjesme i njeno potpuno promjenjivanje. Ne, za razliku od običnih covera, Laibachov proces uključuje slojevito rekontekstualiziranje. To nije samo glazbena reinterpretacija, nego i filozofska i politička dekonstrukcija izvornog značenja pjesme. Koncert je završio jednom od njihovih najnovijih obrada pjesmom “I Want to Know What Love Is” benda Foreigner. Sad, ako se pitate zašto bi Laibach izabrao pjesmu koja slavi ljubav u tako klišejastom obliku, odgovor je jednostavan, zato što Laibach nikad ne bira nešto bez razloga. Njihova verzija te pjesme nije sentimentalna balada kakvom je Foreigner izvorno zamišljao. Umjesto toga, Laibach je prenio poruku ljubavi kao nečega što nadilazi individualne osjećaje. Ljubav postaje simbol veće ideje, ljubavi prema ideologiji, ljubavi prema narodu, ili možda ljubavi prema kontroli? Ironija je ključna.
Tekst pjesme govori o želji za razumijevanjem ljubavi, no Laibachova izvedba ne čini da se pitamo o kojoj ljubavi oni zapravo pričaju? Je li to intimna ljubav koju svi priželjkujemo ili je to ljubav prema autoritetu koji nas ujedinjuje i usmjerava? Moram napomenuti i jednu staru anegdotu o Laibachu koja kruži od njihovih početaka u bivšoj Jugoslaviji. Kad su se pojavili, početkom ’80-ih, njihova glazba, tada mnogo industrijalnija nego danas, izazvala je opće zgražanje. Čak se pričalo da su “Laibach ubili punk.” Iako je punk bio revolucionarni pokret, Laibach je uspio iznova definirati pojam subverzije kroz još radikalnije zvučne pejzaže i ideološke komentare, dok je punk ostao, na neki način, zarobljen u svojim anti-establišment formama. Ako ništa drugo, Laibach su preuzeli torbu punu punkerskog bunta i proširili je na filozofski i umjetnički teren koji je malo tko imao hrabrosti dotaknuti.

Bez obzira na razgovore u publici, na činjenicu da nije Pula i da je atmosfera bila različita, jučerašnji koncert u Boogaloo-u bio je pravi primjer onoga što Laibach predstavlja – snažna, provokativna glazbena i vizualna izjava o moći, autoritetu i ironiji. Njihova sposobnost da transformiraju i apropriraju tuđe pjesme nije samo imitacija, već kreativni čin koji tjera na razmišljanje.
Laibach su majstori reinterpretacije, i dok god nastavljaju igrati na granici umjetnosti i politike, njihov opus ostaje fascinantan za svakog tko je spreman čitati između redaka i slušati između nota.

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Laibach’s concerts come seriously close to the number of my most visited concerts, such as Gori Ussi Winnetou and Kud Idijoti. However, Laibach is a special case. Their concert is not just an ordinary “best of” section, but a conceptual journey through carefully selected songs, supported by VJ-ing full of strong messages in the manner of their recognizable style. Their concerts are more of a ritual than a performance, as some would say, on the border between artistic performance and political manifesto. Yesterday’s concert at the Boogaloo club in Zagreb was another opportunity for Laibach to present their cult album “Opus Dei” in a new guise. If you’re already asking about the location, I have to admit, I can’t compare to the recent performance at the Small Roman Theater in Pula. Pula has that ancient magic, the ancient amphitheater and that special feeling of history under a clear sky. No, yesterday’s gig, regardless of the cramped space at Boogaloo, brought new energy and, dare I say, a more intense atmosphere. Upon entering Boogaloo, I immediately noticed something that disturbed me, several neo-Nazis who entered the concert. Seeing such characters at the concert of a band that, with irony, satirical commentary on totalitarian systems and propaganda visuals, constantly provoked and opposed fascism, was paradoxical. However, my uneasiness was eased by the message Laibach sent via the video wall “Death to Fascism.” I hope those guys get the point.
The audience, although it was clear that many came to the “event” more than to the concert, had its moments of frustration. Yes, there was talk, but let’s be realistic, this is a rock machine, not a theater show. Laibach gives all on stage, while the audience, as usual, balances between engrossment in the message and the occasional need to be entertained. When we talk about Laibach and their cult album “Opus Dei,” we come to an interesting aspect of their artistic appropriation. Laibach are masters of “appropriating” other people’s work and transforming it into something new, often ironic. At this concert, they showed again why they are considered pioneers of this approach. Their interpretation of the song “Live is Life” is an example of this art of appropriation in its best form. They turned the song from a banal anthem of joy into a serious, almost militaristic, reflection on power and authority.

Some would say it’s vampirizing someone else’s work, taking someone else’s song and completely changing it. No, unlike regular covers, Laibach’s process involves layered recontextualization. It is not only a musical reinterpretation, but also a philosophical and political deconstruction of the original meaning of the song. The concert ended with one of their latest covers, the song “I Want to Know What Love Is” by the band Foreigner. Now, if you’re wondering why Laibach would choose a song that celebrates love in such a clichéd form, the answer is simple, because Laibach never chooses something for no reason. Their version of the song is not the sentimental ballad that Foreigner originally intended it to be. Instead, Laibach conveyed the message of love as something that transcends individual feelings. Love becomes a symbol of a bigger idea, love of ideology, love of people, or maybe love of control? Irony is key.
The lyrics of the song talk about the desire to understand love, but Laibach’s performance does not make us wonder what kind of love they are actually talking about? Is it the intimate love that we all desire or is it the love of an authority that unites and directs us? I must also mention an old anecdote about Laibach that has been circulating since their beginnings in the former Yugoslavia. When they appeared, in the early ’80s, their music, much more industrial then than today, caused widespread outrage. It was even said that “Laibach killed punk.” Although punk was a revolutionary movement, Laibach managed to redefine the term subversion through even more radical soundscapes and ideological commentary, while punk remained, in a way, trapped in its anti-establishment forms. If anything, Laibach took a bag full of punk rebellion and expanded it into philosophical and artistic terrain that few had the courage to touch.

Regardless of the conversations in the audience, the fact that it was not Pula and that the atmosphere was different, yesterday’s concert in Boogaloo was a true example of what Laibach represents – a strong, provocative musical and visual statement about power, authority and irony. Their ability to transform and appropriate other people’s songs is not just imitation, but a thought-provoking creative act.
Laibach are masters of reinterpretation, and as long as they continue to play on the border between art and politics, their oeuvre remains fascinating for anyone willing to read between the lines and listen between the notes.