Laibach

Musick

MUSICK, Laibach's first studio album of original material since 2014's Spectre, celebrates our current era of distorted reality and swanky AI imitation while playfully criticizing it with a collection of undeniably catchy pop songs that revel in hyper-driven postmodernism.

The title of the album, MUSICK, is the key to this duality. It speaks of oversaturation, of weariness with music in a time when there is so much of it that we can hardly engage with it.

Over 100,000 new tracks are put online every day, and more and more songs are AI creations, digital garbage. Like so many things in life today, simply listening to music makes us question reality.

MUSICK addresses this weariness through its constantly distorting sounds and reference points, but it also addresses a different kind of weariness:
a pathological devotion to music - "an obsession, a kind of drug" - that continues to drive Laibach in this era of oversaturation.
The group took a maximalist approach to producing the album in their studio in Ljubljana.
They surrounded themselves with all the musical instruments they could find, from analog synthesizers to toys to computers stuffed with sound apps.

They invited contributors from Slovenia and beyond, from their longtime collaborator Donna Marina Mårtensson to electropop producer Richard X.
They immersed themselves in a broad spectrum of contemporary music production, from K-pop and J-pop to 90s Eurodance. "However, our most important influence and point of reference remained Laibach itself," says Laibach, "in all our facets, variations and historical transformations.
" MUSICK is very pop-heavy, but also very Laibach-heavy.