Альбом Laibach

Cari amici soldati
I tempi della pace
Sono
Passati!

Cari amici soldati
I tempi della pace
Sono
Passati!

Cari amici soldati
I tempi della pace
Sono
Passati!

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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
DI
E 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.)

(Death For Death)
pribjali zlocince nailing criminals
zive na drevesa alive to trees
strahotno mucili cruelly torturing
iztiskali oci gouging out eyes
rezali usesa in jezike cutting off ears and tongues
jim trli ude crushing their limbs
prebadali misice na nadlahteh piercing biceps
ter jim skozi odprte rane vtikali their bound hands
prekrizane roke thread through their open wounds
cele zlocinske druzine pomorili all criminal families killed
nekak specialist some specialist
za pobijanje krivih otrok in zena for executing guilty women and children
katerim so kar z zepnimi nozi by cutting their heads off
rezali glave with pocket knives
smrt za smrt death for death
smrt za smrt death for death
smrt za smrt death for death
smrt death

C'ez nas viharji divjajo.
Mesta gorijo in telesa.
Slast nas stresa
Spet se c'es polja
glasijo zvoki nas'e govorice,
ki nam molitev je in vrisk.
Ne, ne dopusti vec', vesoljni bog,
da bi nas'a sila potonila,
saj je tako brezmejno sladka, mila...
SLAST NAS STRESA!

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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!)

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Vsak clovek v sebi razplamtel je sile
Junaska 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 vzgal,
Raznetil se, razsiril, razplamtel v viharje!
Smo ogenj, ki iz nas bo vas izzgal
Pjavke nas'e in sence nove zarje...

Mi ogenj smo, jeklo, tnalo in kovaci
Pravko kujemo, svobodo v to celino
Mi vstajamo, vstajamo v prostost
In rastemo mladostni v sirino!

Mi Kujemo Bodočnost

Brat moj
Ali cutis pogum,
Ki ga je dvignila zerja
V borbi za lepoto sveta?

Brat moj
Prizgimo kres v vseh ljudeh!
Bodimo mocni kot garaci, brat moj;
Mi smo v skrivnosti tajni
Slutnja in prerokovanje
Mi smo zivljenja divju smeh!

V nas je glad, ki pozivi
In gladnih ne izmuci
Brat moj, odpri oci,
Potuj z nami
K novi luci!

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Ti, ki izzivas,
vsaj ne sili v kritje,
to ni velikega poguma znak.

Srcno stopi sam
v krvoprelitje in padi
- ce si zares junak.

IN ENGLISH:

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 are really a hero.

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 aphasia, 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, otalitarian, industrial production.

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