Although not on “official” review duties tonight it would be remiss not to cover the only UK date of Laibach’s extensive European tour. The eclectic band were not partaking on a crowd- pleasing, fan-favourite visit in my opinion and I had some trepidations on the set-list. Not everything the long serving group have done over their 43 years of existence has been to everyone’s tastes but you cannot fault their passion and unswerving faith to deliver a wide ranging array of material strictly on their own terms.

For every anthem there are curveballs taking in everything from classical expressions to musicals and national anthems, techno, industrial and cheeky cover songs. They have really kept us on our toes over the decades. I should not have worried about it in the slightest though, Laibach certainly know how to put on a classy performance and this was no exception.

Latest single ‘Love Is Still Alive’ in all eight parts comprises the first section of the show. The band finally coming on at 8.30 an hour and a half after doors opened with no prior support. To say we were somewhat restless by then would be an understatement but all such thoughts are quickly forgotten as Marina Martensson takes the stage and strums her acoustic guitar to start speeding us through the galaxy. There’s an undeniable Country twang and attention is focussed on the visual backdrop the group have co-ordinated behind them to spectacular effect. The somewhat cheesy hook line and melody is going to be repeated over the duration but the band are ever inventive and there’s huge diversification across the the performance.

A Stetson wearing Milan Fras with his instantly recognisable gravid tones sings to us on the first part but after leaves the stage for the bands various instrumentalists to take over. We are astrally-projected across the universe via sonic overloads of keyboard sound moving between hefty Krautrock and techno. Vocoder mutates robotically engineered singing parts and behind it all we are in a world resembling old sci-fi classic Tron. Sounds are literally out of the world courtesy of two knob twiddlers, guitarist and all of a sudden the bosh of live drums thrusting us into some sudden galaxy stomping grooves baby! It’s all quite overwhelming and immense.

There’s an injection of dub and a cubic visual diorama, the audience are transfixed, rooted to the spot in an almost shamanic trance. There’s a real retro feel, the spirit of Kraftwerk is strong and there’s parts that simply make you want to boogie on down. The Earth is apparently lost we are informed, ah it must be Space 1999 with a healthy dose of Flesh Gordon as the love is spread around. Somewhat dazed, a short intermission is welcome before we move onto the second part of the show.

Milan is back centre stage with more recognisable headgear and the music mutates into harsher and more political realms. First stop is a couple of tracks from Wir Sind das Volk’ merging abstract classical and industrialism. ‘Ich bin der Engel der Verzweiflung’ a formidable slice of militant oppressiveness far harsher than on album.

There’s a feel of experimentation about it all, quite Stockhausen in its expressionism and as we embrace the Zarathustran bombast of Das Nachlied guitar is played like a violin, there’s odd keyboard runs and a deluge of thudding drums. Perhaps the love had turned to hate, if not there is certainly a feeling of disgust and contempt.

Highlight as far as I was concerned are tracks from excellent recent album ‘Sketches From The Red Districts.’ During it all we are bombarded visually. Hammers and distortion, brooding noise and austere confrontational melody combine with imposing overload. Black Valleys are trampled, people are worked to the bone but as ever Laibach stand up for them with determination and grit.

They express it all so well with the clank of steel and although lyrically it might not be translatable, the message is clear. It all fits together like a well-oiled machine as they harvest us like the fields of wheat on screen. Boots stomp along and we are left rejuvenated, never feeling more alive.

The encores see us on more familiar ground. There’s a couple of covers, Leonard Cohen’s ‘The Future’ a brilliant natural born killer complete with crack and anal sex. It’s a fantastic song in its own right and Swedish singer and Marina Martensson is the perfect foil accompanying Milan and puts a sublime stamp on it.

Then there’s some Devilish sympathy paid to the Rolling Bones which has everyone singing along to the gruff delivery. There’s the sassy waltz of Iron Sky number ‘The Coming Race’ and to top it all off gorgeous new single ‘The Engine Of Survival.’ Resolutely we all make it to the end but for the band there is a long road still ahead.

This is one of those shows that mere words cannot really sum up. Put simply this was the gig of the year and to think I hesitated on attending… If you get the chance and this swings by your town give it some love, you won’t be disappointed!

(Pete Woods)