VOLK DREAMS

These words are for those who died
These words are for those left behind
These words are for you Poland
And these ones for my homeland...

Let stones crack
Let the earth quake
Let the tempest roar...

Let freedom rise!

—from "Slovania" by Laibach, from the album Volk

The perfect title for the perfect album: Volk. In German it means "people." In Slovenian it means "wolf." These two languages, in addition to English, are the primary languages that Laibach sing in. Hence, the ambiguity of the term is pertinent, especially considering that the fourteen tracks on the album are national anthems that were rewritten and arranged by Laibach and their fellow Slovenian artists Silence. They point out not only the patriotic and nationalistic tendencies of these anthems, but the darkness and violence contained within.

And, true to form, Laibach subvert their subjects through juxtaposition, shift of context, and challenge of power, all the while remaining faithful to other aspects of the song that cannot be denied once stripped of facade. Militarism is exposed. Unity, justice, freedom, equality, liberty, and other such ideals and concepts are held up by the lyrics and left to succeed or fail against the reality of the light of truth and actuality that shines upon them from the practices of the nations that espouse them. Violence seethes below. As the song "Zhongua" states: "March on. March on and on and on and on."

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On "America," an opening burst of analogue synthesizer "chainsaw"—courtesy of Luka Jamnik, and reminiscent of Nitzer Ebb's opening salvo on "Getting Closer" from Showtime—quickly cedes to the distant wailings of the sirens of emergency vehicles, and summons forth memories of 9/11 in the midst of the lockdown of martial law ironically named The Patriot Act. Then come lyrics lifted from the "Star Spangled Banner" that expose the hypocrisy of the actions of the United States both domestically and internationally. "You: the people of the United States, did you form the perfect union, establish justice, ensure tranquility, secure the blessings of liberty to yourselves in posterity?" Can we hear the criticism? Can we listen with open minds to the ways that we have betrayed ourselves and our allies? Next comes the "theological" language that the religious right has adopted from the worst of fundamental Christianity, as heard in a sample of a televangelist preacher. This language is mixed with the secular "religious" language of civil government, much the same way that the current Bush administration has done. The challenge to the structure of our national belief system is couched in a mixture of hymnody, classical music, and "lazy" techno that works rather well.

If we consider ourselves leaders on the international stage then we should be big enough to accept the challenge, listen to its criticisms, examine our flaws and foibles, and change. I am not going to hold out any hope, though. Laibach has been challenging the Western powers-that-be for a couple of decades and nothing has changed for the better. Their NATO album challenged said military alliance while it allowed Yugoslavia to disintegrate into chaos. Their Kapital album challenged the Western consumer cultures that allow for exploitation of the people and environment of all countries in the pursuit of power, control, and consumption of resources; the machine continues to churn.

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The challenge is presented to all of the current nation-state powers-that-be, not only the United States. On "Francia," the French are challenged for their xenophobia, especially concerning their fear of their Islamic immigrants. On "Yisra'el," Israel is challeged for its mistreatment and subjugation of the Palestinian people. On "Anglia," Great Britain is challenged for its arrogance in dealings with other countries. On "Nippon," the nationalism of Japan is challenged. On "Zhongua," the militarism of China is challenged.

Laibach allows the words of the national anthems to betray themselves at times, while revisiting current events to expose the misdirections of these nations at other times.

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I cannot get these songs out of my head. Even when I am lying in bed at night I can hear the melodies of "Germania" and "Slovenia." I can hear the ringing of the bells on herds of cattle or sheep. I can hear the languid seduction and looping rhythms of trip-hop, the tempered growls of vocalist Milan Fras, the beautiful voice of guest vocalist Boris Benko, snippets of cello. I can hear guitars and synthesizers in "battle" with drums. I can hear interstellar signals from the Black Star. I can hear the primary English lyrics pressing out from the German, Italian, Spanish, Hebrew, Turkish, Chinese, Latin, and Slovenian lyrics. I can hear Babel before it is torn down by the finger of God.

These songs have invaded my dreams.

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The people of the nations have spoken in blood and bullets to establish their strongholds upon their lands. The wolves are shepherding the sheep. Now it is time for both wolves and sheep to listen:

This crimson flag should never fade...
I know it will always shine.

Freedom is my people's right.
—from "Turkiye" by Laibach, from the album Volk

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In honor of their own place in history, as part of Neue Slowenische Kunst (New Slovenian Art), and as a catalyst for the "revolution" of the Slovenian people to move toward secession from Yugoslavia proper, Laibach include the NSK "national" anthem as well. It sounds grainy. It ends with a needle stuck in a groove, which is then "zipped" over the last bit of vinyl on the "LP" on which it is heard. The LPs that were the primary mode of subversive music in the early days of Laibach and the early days of Slovenian secessionism—albums such as Laibach, Rekapitulation, and Nova Akropola—are simultaneously paid homage and eulogized.

If only the compact disks of Laibach—albums such as WAT and Volk—can now do as much "damage" and as much "good" as their long-players once did.

The people can dream...