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<title>Playlists Featuring Laibach on Rhapsody Online</title><link>http://www.rhapsody.com/goto?rcid=art.1486&amp;variant=artist-playlists&amp;rws=%2Flaibach%2Fplaylists.rss</link><description>Laibach's aesthetic can be off-putting. Led by the draconian-sounding Milan Fras, the band present in their imagery, lyrics and live performances an oxymoronic merger of fascist art and socialist realism. Loyal to no particular genre of music, Laibach are essentially the devotees of a method. From classical music to Industrial Dance to parodic subversions of "Sympathy for the Devil" and &lt;I&gt;Let It Be&lt;/I&gt;, Laibach have mastered the postmodern approach of deconstruction. How this actually sounds can vary. For instance, &lt;I&gt;NATO&lt;/I&gt; (1994) -- a collection of cover songs sharing the common theme of war -- is a double-sided document that may be read as either a critique of popular culture's embrace of militarism, or as a celebration of that trend. Politics aside, Laibach's pantheistic embrace of audio formats as diverse as choral singing, marching music, tape loops, Disco and political speeches provides for a listening experience that banishes predictability and restores the element of risk to modern music.
- Chad Driscoll</description><category>Industrial</category><language>en</language><ttl>720</ttl><pubDate>Mon, 23 Nov 2009 15:12:58 -0800</pubDate><image>
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<title>Playlists Featuring Laibach on Rhapsody Online</title>
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<description>Laibach's aesthetic can be off-putting. Led by the draconian-sounding Milan Fras, the band present in their imagery, lyrics and live performances an oxymoronic merger of fascist art and socialist realism. Loyal to no particular genre of music, Laibach are essentially the devotees of a method. From classical music to Industrial Dance to parodic subversions of "Sympathy for the Devil" and &lt;I&gt;Let It Be&lt;/I&gt;, Laibach have mastered the postmodern approach of deconstruction. How this actually sounds can vary. For instance, &lt;I&gt;NATO&lt;/I&gt; (1994) -- a collection of cover songs sharing the common theme of war -- is a double-sided document that may be read as either a critique of popular culture's embrace of militarism, or as a celebration of that trend. Politics aside, Laibach's pantheistic embrace of audio formats as diverse as choral singing, marching music, tape loops, Disco and political speeches provides for a listening experience that banishes predictability and restores the element of risk to modern music.
- Chad Driscoll</description>
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<title>Miscellaneous Music - 1.1 - umeandTHEM</title>
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<category>Alt/Punk</category>
<pubDate>Tue, 10 Nov 2009 10:12:18 -0800</pubDate>
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<title>INDUSTRIAL COMPLEXities 1.0 - ReLoaded - thegnosis</title>
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<category>Alt/Punk</category>
<pubDate>Tue, 26 Jun 2007 03:56:05 -0700</pubDate>
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<pubDate>Tue, 10 Feb 2009 12:03:13 -0800</pubDate>
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<title>MIXTOPOLIS 1.0 - 3 Days In Hell - Republished - thegnosis</title>
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<category>Alt/Punk</category>
<pubDate>Thu, 16 Apr 2009 10:02:20 -0700</pubDate>
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<title>MIXTOPOLIS 1.0 - 3 Days In Hell - thegnosis</title>
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<category>Alt/Punk</category>
<pubDate>Mon, 23 Feb 2009 11:35:28 -0800</pubDate>
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<title>DARKMATTER 3.0 - "Jesus F. Christ... what have they done!!!" - thegnosis</title>
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<category>Alt/Punk</category>
<pubDate>Mon, 24 Nov 2008 10:11:23 -0800</pubDate>
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<title>INDUSTRIAL COMPLEXities 1.0 Republished Contains missing scene descriptions from PL 1 - thegnosis</title>
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<category>Alt/Punk</category>
<pubDate>Sat, 17 Nov 2007 05:44:46 -0800</pubDate>
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<title>INDUSTRIAL COMPLEXities 1.0 - The light at the end of a dark, dark tunnel. - thegnosis</title>
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<category>Alt/Punk</category>
<pubDate>Sun, 1 Feb 2009 10:35:43 -0800</pubDate>
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<title>Current mix - NetKrouse</title>
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<category>Rock/Pop</category>
<pubDate>Tue, 20 Oct 2009 10:13:10 -0700</pubDate>
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