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Posts Tagged ‘Laibach’

laibachspectreLaibachin uusin, Spectre (Mute, 2013) oli levy, jonka suhteen Mesikämmen harkitsi vakavasti, pitäisikö ensimmäisen kerran koskaan jättää bändin levy ostamatta. Ryhmä tuntui jotenkin liukuneen niin kauas kulta-ajoistaan. Kahdeksankymmentäluvulta ryhmää seuranneen perspektiivistä homma tuntui asettuneen liiaksi staattiseen ja steriiliin maastoon.

Levyä kuunneltua on kuitenkin pakko todeta, että Spectre on mainio levy. Volkin (2006) jälkeen bändi on tehnyt pari selvää välimaastosuoritusta (Laibachkunsterfuge [2008] ja Iron Sky soundtrack [2012]), mutta Spectre jatkaa mainiosti siitä, mihin Volk jäi. Ja Volk oli hieno levy. Ei tietenkään mitään alkuaikojen primitiivisen alkuvoimaista kolinaa, jos sellaista toivoo, mutta kuitenkin. Pientä tuntumaa legendaariseen WAT-levyyn (2003) on uudella levyllä kuultavissa, eritoten kappaleissa Eat liver ja Bossanova.

Spectre-puoluekirjakin tuli hankittua. NSK:n passi Mesikämmenellä olikin jo valmiiksi taskussa. Laibach on edelleen ajankohtainen ja mielenkiintoinen. Vanhalle hevoselle on haasteellista jatkaa ottamassaan legendaarisessa asemassa, mutta Laibach onnistuu. Spectre on positiivinen yllätys, mistä osoituksena kannattaa katsoa vaikka loistavasti Hitler-jugendilla maalaileva video upeaan Whistleblowers-biisiin.

We rise, we grow / we walk and we stand tall / we never fall / as big as the sky / as far as the dawn / we walk / and we do not fall! //.

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Aineeseen liittyen:

Onko Laibach natsibändi?Timo Vuorensola speaks! / We come in peace / Art is fanatism that demands diplomacyLaibach in Helsinki 26th of June 2005 //.

 

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hmksm2013On Hypnoottis-magneettisen katseen SM 2013:n palkintojenjaon aika. Suuret kansanjoukot ovat kokoontuneet Turun, Suomen todellisen pääkaupungin, kauppatorille. Liput liehuvat. Puheita pidetään. Ulkotulet palavat. Kaupungin sinfoniaorkesteri esiintyy. Rytmihäiriö esittää kisojen virallisessa mainosvideossa käytetyn kappaleen Todellisuuden mestari. Ihmiset ovat hurmoksessa. Kaikilla on mukavaa. Suomen kansa kokee transsendentaalista yhteenkuuluvaisuutta puoluerajoista riippumatta. Presidentti Sauli Niinistö itkee liikutuksesta.

Hypnoottis-magneettisen katseen suomenmestari 2013 Sini Marie Kyllikki Eloranta nousee kultamitalistin pallille kansanjoukkojen villin hurrauksen säestämänä. Mesikämmen laittaa hänen kaulaansa kisojen kultamitalin ja komentaja Kai M. Aalto kättelee hänet ja aloittaa juhlapuheen hänen kunniakseen seuraavin sanoin:

Kisojen ylituomarina ja niiden korkeinpana suojelijana minulla on tänään kunnia rakkaudesta sekä teitä että koko maailmankatsomustamme kohtaan julistaa tämänvuotisten kisojen voittajaksi Sini Marie Kyllikki Eloranta. Taistelijat, kuten te ymmärrätte, Sini ei voittanut sen vuoksi, että te äänestitte häntä, vaan sen vuoksi että Kaitselmus oli jo ennalta valinnut hänet… (komentaja Aallon juhlapuhe tulee kokonaisuudessaan blogin sivulle lähipäivinä).

Tämän jälkeen Elorannan toiveesta voittokappaleeksi valittu Queenin Princess of the universe soitetaan. Tämän jälkeen sama rituaali toistuu hopea- ja pronssimitalistin kohdalla. Hopeamitalisti Arto Waseniuksen kunniaksi soitetaan hänen toiveestaan Laibachin Opus Dei ja pronssimitalisti Miika Ihanaisen kunniaksi Toto:n Child’s anthem.

Vuoden tärkeimmät SM-kisat on jälleen saatu päätökseen.

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Mesikämmen luovuttaa mitalisijoille yltäneiden yhteystiedot tämän viikonlopun aikana luottamuksellisesti palkintoja myöntäneille tahoille, jotka sitten hoitavat palkintojen postitukset eteenpäin.

Kisassa on annettu myös 5 kpl erityismainintoja.

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Seuraavaksi palkinnot ja erityismaininnat sekä ne saaneet:

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Suomenmestari 2013, Sini Marie Kyllikki Eloranta:

sinimarie* Pekka Siitoin: Musta Magia -trilogia sekä Pekka Siitoin-camee-koru (Lahjoittaja: Horror Shop).

* Hermeetikko-aikakauskirja nr. 1 (Lahjoittaja: Hermeetikko).

* 50e:n lahjakortti Salakirjoille (Lahjoittaja: Salakirjat).

* Elokuvapalkinto (Lahjoittaja: Pieni Leffakauppa).

* 10 kpl Anima Arctican CD-julkaisuja (Lahjoittaja: Anima Arctica).

* 9 kpl Metal Asylum Promotionsin promoja sekä 2 kpl Corpset CD-levyjä (Lahjoittaja: Metal Asylum Promotions).

* Rautaiset rakastajat-kirja (Lahjoittaja: Janne Flinkkilä).

* Napalminalle, tulinen nallekarkki 150g (Lahjoittaja: Poppamies).

* Tapio Kotkavuori: Vasemman Käden Polku-kirja (Lahjoittaja: Seti I).

* Pekka Siitoin bitcoin-seteli (Lahjoittaja: Jiri Keronen).

* Taskumatti, Pekka-kuvalla (Lahjoittaja: Nimetön).

* Kisojen kultamitali ja kunniakirja sekä Mesikämmenen blogin jääkaappimagneetti (Lahjoittaja: Mesikämmenen blogi).

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SM-hopeamitalisti 2013, Arto Wasenius:

artowasenius* Hermeetikko aikakauskirja nr. 2 (Lahjoittaja Hermeetikko).

* 25e:n lahjakortti Salakirjoille (Lahjoittaja: Salakirjat).

* Elokuvapalkinto (Lahjoittaja: Pieni Leffakauppa).

* Tapio Kotkavuori: Vasemman Käden Polku-kirja (Lahjoittaja: Seti I).

* Pekka Siitoin bitcoin-seteli (Lahjoittaja: Jiri Keronen).

* Kisojen hopeamitali ja kunniakirja sekä Mesikämmenen blogin jääkaappimagneetti (Lahjoittaja: Mesikämmenen blogi).

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SM-pronssimitalisti Miika Ihanainen:

miikaihanainen* 25e:n lahjakortti Salakirjoille (Lahjoittaja: Salakirjat).

* Elokuvapalkinto (Lahjoittaja: Pieni Leffakauppa).

* Tapio Kotkavuori: Vasemman Käden Polku-kirja (Lahjoittaja: Seti I).

* Pekka Siitoin bitcoin-seteli (Lahjoittaja: Jiri Keronen).

* Kisojen pronssimitali ja kunniakirja sekä Mesikämmenen blogin jääkaappimagneetti (Lahjoittaja: Mesikämmenen blogi).

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Erityismaininnat (5 kpl):

Tuomas Tähti, kisojen viides sija. Tuomas Tähti on aina ensimmäisistä hypnoottis-magneettisen katseen SM-kisoista asti ollut uuttera kisojen propagandisti. Hän on puhunut niistä esimerkillisesti niin työtovereilleen kuin muillekin. Mesikämmen antaa Tähdelle kisojen parhaan propagandistin erityismaininnan ja siitä palkintona blogin jääkaappimagneetin ja pullon Gambinaa.

Vesa Ruokangas. Rivologis-hypnoottis-magneettisen katseen erityismaininta. Violent Journey Recordsin Vesan kuva puhuu asiasta omaa kieltään. Mesikämmen antaa Vesalle palkinnoksi Mesikämmenen blogin jääkaappimagneetin.

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Nimimerkki Seti I antoi Mesikämmenelle oman harkinnan mukaan jaettavaksi palkintosijojen lisäksi kolmelle erityismaininnalle Tapio Kotkavuoren kirjan Vasemman Käden Polku (4. painos). Kirjan teemaa löyhästi mukaillen nämä kappaleet menevät seuraaville kisaan osallistujille:

Sari Niemi. Hypnoottis-magneettisen saatananpalvontakatseen erityismaininta. Kirja sopii Sarille, koska Mesikämmen tietää, että Sari palvoo Saatanaa.

Juhani Seppälä. Hypnoottis-magneettisen heavy metal-katseen erityismaininta. Juhani on otsaansa myöten heavy metallin pauloissa ja heavy metal on Saatanan musiikkia, kuten Leo Meller on meille kertonut. Tämä kirja sopii siis Juhanille, joka niukalla äänimäärällä ei yltänyt kisojen finaaliin.

Samuli Kuivila. Rivologisen alkoholi-invokaatio-katseen erityismaininta. Samulin kisakuva kertoi, että Samuli on Mestari Siitoimen tapaan okkultisti, joten erityismainintakirja sopii Samulille.

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Onnittelut kaikille palkituille ja erityismainituille!

Ensi vuonna uudestaan!

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timovuorensola2Timo Vuorensola doesn’t need long introductions. He’s known especially for directing movies and being a member of Älymystö.

Mesikämmen decided to ask few questions from Timo. In the following interview Star Wreck, Iron Sky, Laibach, Älymystö, Nazi UFO’s, Nazi’s in movies, Sarah Palin and her supporters, Pekka Siitoin, and many other subjects are covered.

Ladies and gentlemen, Timo Vuorensola speaks!

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Background

If this interview could take place anywhere, anytime, real or imaginary, where would we sit now making this interview?

I’d pick some nice, cozy pub in Tharbad, Cardolan. That’s in Middle-Earth, of course. And year would be around 1650 Third Age.

Who are you, what do you do? What did you do before Iron Sky that made you a celebrity?

I’m some kind of a all-round-random-shit -guy who just ended up focusing on film. I’ve been interested in anything, from writing to music, from graphics to marketing, and have done a many jobs on each of those fields. I used to be a telemarketer before I started filmmaking and financed my ass during the the making of my first film, Star Wreck: In the Pirkinning.

What made you start Star Wreck-movies? Were you a typical Star Trek-fan?

I wasn’t the brains behind Star Wreck-series, before I met him, Samuli Torssonen from Tampere who had been working on Star Wrecks all his life. I joined in first as an actor to Star Wreck V: Lost Contact -short film, and he asked me – because I was always loud and buzzing about the set – to direct the second. I hadn’t directed anything of that scale before, but decided to take the “job” (not like anyone was paying…).

Regarding Star Trek, I hand’t seen even one full Star Trek episode before I started working on Star Wreck, and didn’t get around to watch the series until years after I had already finished my work on Star Wreck. Maybe it was good, brought the film a bit above the typical fanwank level of fan films on the Internet.

Who are your favorite Star Trek characters and why? The first or the next generation? Deep space nine?

Now that I’ve seen every episode of Star Trek (me and my girlfriend took a 1,5 year Star Trek marathon, watching every episode (729 episodes) and every movie (11 movies then), I find myself a “first generation” -guy, meaning the Original Series is the one that speaks loudest to me, although every other series have had their awesome bits. And out of all the characters in Star Trek, I’d go picking Kirk, Spock, Data and Archer. They all are interesting, stand-alone characters that really bring incredible flavour to the series.

What are your all time favorite movies and directors, top 10? Why these directors, movies?

Top-10 is rather hard, but let’s give it a go:

1. David Lynch – For the freedom of expression.

2. Ridley Scott – For the science fiction mindset.

3. James Cameron – For the beyond-this-world visions.

4. Stanley Kubrick – For the best films I’ve seen in my life.

5. Gus van Sant – For the challenging topics he tackles with such ease.

6. John Cameron Mitchell – For the best film I’ve seen in my life (Hedwig and the Angry Inch).

7. Peter Jackson – For being the guy I want to be one day.

8. Darren Aronofsky – For the darkness, and the light at the end of the tunnel, that turns out to be a train of horrors roaring at you.

9. Steven Spielberg – For my childhood.

10. Terry Gilliam – For taking us on a ride out of this world.

ironskytroopers

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Iron Sky and things related

Where were the seeds of the Iron Sky planted? I recall some mentions about sauna…

Yeah, we were sitting in a sauna, a bunch of us, and friend of ours, one of the writers of Star Wreck: In the Pirkinning suggested we should do a film about Moon Nazis. He had been reading bout this conspiracy theory and thought it might turn into something interesting. First we of course were just laughing about it, but the more we thought about the topic, read about it and researched it, the more we realised there could be a story there.

Turun Hengentieteen Seura made notions about sending metaphysical magical signals into the collective field of human consciousness as the real origin for Iron Sky. What is the truth about the matter? Did you feel some odd itching in your head when the idea came to you?

Yeah, but we believed it to be just dirty nerd sweat exiting our bodies in the heat of the sauna, but apparently, well, that’s what it was then.

ironskyufosWhat do you think of the Nazi-UFO-mythos in general? What do you think, is there is any base to Nazi’s having had man-made UFO’s?

Absolutely, there’s quite a lot of photographic evidence of a saucer-shaped ships being tested by Nazi scientists and later these researches found their way to USA where they were taken even further. I assume the problem eventually was that there was no way to create an energy source that could take the advantage of the saucer shape, and the research was abandoned, after Roswell accident, and all the focus was put into building a space rocket based on V2 technology.

Your take on UFO’s in general?

Whatever saucer-shaped there’s flying it’s man-made. I’m also a firm believer in life outside of our solar system, even ponder it’s possible to think there could be a form of intelligence, but I highly doubt we’ll ever have any contact with anything more than few worms buried in Mars and weird fishy things in Europa. So, in that way I believe we Earthlings should use our imagination as wide, far and crazy as possible in imagining conscious life out there, since we’ll never find it out anyway.

Why does Nazi aesthetics appeal to the people? What’s the reason behind their appeal to the people nowadays? What do you think of Nazis? Was was the worst and the best in them in your books?

Strength and cool come from strong will and great taste in the visuals. Unfortunately, what’s driving these is an ideology that’s so badly rotten inside it’s not worth celebrating. But Nazi cool can be thanked only by Hollywood film industry, which put these soldiers in pedestal and made them demigods of evil. Mankind loves evil, so we love nazis. What’s always forgotten, and what’s very sad is that Nazis were not ‘evil’, they were just pathetic ignorant mislead shitheads. But you can’t really make a multi-billion branch of entertainment industry based on hunting pathetic ignorant mislead shitheads, they are not fun. Evil is much more fun. Making nazis evil you make them entertaining and making them entertaining you make people want to watch them and pay for them.

What I believe how Nazis should be treated is to be revealed as the pathetic ignorant mislead shitheads they are, so no more people want to follow them, because, who wants to identify being a pathetic ignorant mislead shithead?

ironskynazis

I recall there has been some problems in getting the movie distributed, etc. Tell us about that. It must have dealt with the Nazi-dimension of the movie, right?

In the beginning, people were very worried about how we will approach the topic of Nazism, given its’ strong negative baggage, so we did get a lot of interest but a lot of “no thank yous” in the end. It took years of convincing for people to understand that this is a comedy, that it’s dismantling the Nazi mythos not appraising it, and that it’s not making fun of the victims of the Nazis. After this was managed to be slammed into the heads of people, getting the distributors was a bit easier, but for a small marginal european scifi film, it’s never easy.

Eventually, we succeeded, selling the film to theatres in over 60 countries with DVD and VOD finding its’ way to even more. The film is somehow still coming out here and there; just last weekend Hungary released the film to theatres, so there’s some serious longevity in the film.

ironskysarahpalinHave Sarah Palin supporters contacted you regarding the movie? What have they said?

It took them about six months to really form an intelligible response to the film, and it contained a lot of death threats, curse words and Euro-bashing. It was probably one of the best times I’ve had as a filmmaker, reading as some right-wing nutcase found out about Iron Sky, tweeted about it and then the whole republican media on Internet went nuclear.

How you got Laibach to make the soundtrack to Iron Sky? Were they instanty all in for it or was it a matter of negotiations or some such process? Were you a Laibach fan before the movie, an NSK-citizen?

I’ve never been an NSK citizen, but was a big big fan of Laibach since I first found out about them, and was listening to them constantly as I was working and writing Iron Sky. It was one of the initial goals for me production-wise, to get Laibach to do the music, and although contacting them and the initial negotiations were not easy, as soon as we got a chance to meet and talk what the film will be, and how it will be like, they decided to help. And when Laibach is on board, they are on board 150%, and will pull in every resource and bit of energy they have to create something extraordinary.

What do you think of the reception the movie has got? How do you feel about it?

Reception has been mixed. I usually think it’s divided into those with IQ under 100 or above 100. Those above seem to be more likely to get it, those under seem to have hard time getting their heads around it. And, well, of course there’s the film critics, but then again, who cares of them anyway? I’m happy the right people find the film, and I’m happy it has created a huge, intense following that’s going to help us making the sequel, and I promise even the sequel won’t even try to make everyone happy.

ironskylaibachWhat do you think of the movie yourself? What could have been done better, what ended up perfect?

I’m proud and happy of it. Looking back, the more I see what choices we made during the production, the less I think something could’ve been done different. Films are more than sum of their parts, and the magic happens not only as it is written, but also in certain time and space, where no other end result could’ve come out. I could go back and chance this and that, but I fear it would result in a worse film. To me, Iron Sky is perfect as it is, with all its’ flaws, and I wouldn’t really go changing too much. I would’ve liked to stay in the Moon Base a bit more, but we really had to get going with the story around 29 minutes, when we leave the base for the first time.

The movie must have brought you into many interesting situatons. Do you have some special stories to share with us about those? The most surprising, memorable, weird situations?

I’ve had great time with the film’s release. Travelling to tens of film festivals all over the world you get to meet the most amazing people, most interesting world views and end up into strangest situations. Let’s just say I’ve understood that there’s no glamour in film, but there’s something very wicked, dark and perverted in the world of film that’s rather interesting. Weirdest people I’ve met are usually the UFO freaks thanking me for a great documentary.

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Älymystö

What is Älymystö all about?

alymystoÄlymystö an industrial noise project me and Mr. Haapanen set up some 12 years ago. Our intention was originally only to do few songs and one live show, but it grew out of its’ proportions, and although we haven’t released a lot, and haven’t toured like animals, we’ve established a small niche of which we are proud, and which we are also expanding on nowadays.

What made you interested in industrial music? The biggest influences? Top ten best industrial albums – or other kinds of albums, if you prefer to broaden the question?

Industrial music is also a glance into the dark side of electronic music and metal music, sort of like looking under the hood of what this shit is made of. It has beauty in the crust, rot and malfunctions, and it’s very digiprimitive in its’ nature. Top ten industrial albums listed here:

Laibach: Opus Dei.

GGFH: Disease.

Ministry: Psalm 69.

Die Krupps: II.

Alec Empire: Futurist.

Godflesh: Pure.

Pitchshifter.

Front Line Assembly: Hard Wired.

NON: Music for Iron Youth.

You ”sing” and write lyrics for Älymystö. What inspires your lyrics? What do you want or aim to express via them?

Usually sexual frustration, religious frustration, murder fantasies and some kind of a compilation of these elements.

If you would be either a musician or a movie director (not both) which one you would be?

Musician.

The best Älymystö album to date, and why that?

Atomgrad is our only full-length album so far, and I’m proud of it. It has a very unique atmosphere that’s unrepeatable.

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Pekka Siitoin

siitoinufoWhat do you think of Pekka Siitoin? What do you think was the best and the worst in the man? What do you think of him, in general?

I think Finland needs these strong personalities, whatever side of the imaginary ‘fence’ they stand. We tend to be a society which ridicules and abhors anyone with unique personality and see standing out as a negative trait. I’m talking of Pekka Siitoin, but also of Spede Pasanen, Lenita Airisto, Jörn Donner and Matti Nykänen to name a few. All of these are interesting people, some are creepy, some just plain insane and some considered intellectuals. What I like about them all is that they give a nice kick in the ass of us Finns, forces us to think beyond the “kahvia-ja-pullaa” universe we so easily float in. So, I don’t agree with Pekka’s views at all, but I respect his uniqueness.

Did you consider having Pekka Siitoin as a character in Iron Sky at any point? Do you consider doing so in the sequel of the movie that is in planning?

Yes, actually we did, at least partially. In the very first draft of Iron Sky, there was supposed to be a character called Pekka Lehto on the Moon, playing much similar character as Klaus Adler is now. His name comes from a Pekka Siitoin – Seppo Lehto -mash-up, and he was to be a crazy son of a bitch nazi, main antagonist of the film. This was a bit before Johanna Sinisalo joined us, though.

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Keys of success, future, etc.

As a creative and successful person, what kind of advice you would give to persons wishing to create something like Star Wreck or Iron Sky? What are the ingredients of success, of making it all come true today? What you would have done differently if you would have had some advice in the early stages of your process? Or is is all just ”try and see”-kind of process?

I like to say that there’s really nothing you can take or achieve to have the qualifications to make a feature film, other than making it. So, I’d suggest evaluate your life and think, would you be willing to do years of work without being paid to become a filmmaker. Most wouldn’t, and that narrows it down to those would. Then, making a film itself is obviously the main task, and only very few really get to finish. And out of those who finish, even smaller portion are willing to do the work it takes to make a film.

First film doesn’t have to be great in every respect, but it needs to show you have the guts to finish a feature film, you have some kind of a vision on what you are doing. So, instead of talking about it, start making a film. And instead of skipping the corners, spend years on it to make it as good as you humanely can. Then, release it and see what happens.

What you would like people to know about you that they haven’t got to know about you thus far via mainstream media?

I’m an egoistic asshole. It helps repositioning me in the field of who’s a great guy and who’s not. I am.

What kind of plans you have in for your near future when it comes to Älymystö, movies?

Right now I’m working on two feature films – Jeremiah Harm, a scifi actioner and Iron Sky sequel. There’s also talks about more films to which I’ve attached my ass to, one of them being I Killed Adolf Hitler, then there’s Deadrise and a bunch of others.

What makes you happy?

Right now, Oranssi Pazuzu. In general, when I’m right and people listen to me and things click. What makes me sad is when I’m wrong but people still listen to me and things fall apart. Both happen at equal intervals.

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Thank you for the interview, Timo!

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Related:

Iron Sky official webpage.

Iron Sky in Facebook.

Älymystö.

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Iron Siitoin.

Reich of the Black Sun.

We come in peace.

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Gerhard Hallstatt with a rock painting discovered in 1911 by Jean Sibelius. Photo (c) Sebastian Devamitra Porceddu 2012

Gerhard Hallstatt with a rock painting discovered in 1911 by Jean Sibelius.
Photo (c) Sebastian Devamitra Porceddu 2012

Like the music which he composes and records under the name of ”Allerseelen”, Gerhard’s writing does not easily fit any ready-made label or category. While the majority of people are content to travel the iron tracks laid down by their religion, politics, peer pressure, or brand-name culture (no matter that they are always crashing into each other), he follows a mercurial path: quick, elusive, and a little mischievous. When I first met him at a conference in Vienna, I was immediately attracted by his friendly persona and lack of posturing. As I got to know him and his writings better, I admired the way he was following his own star wherever it lead, with no possible financial or professional gain.

– Joscelyn Godwin in his foreword to Gerhard Hallstatt’s Blutleuchte.

It was a December evening in Turku the last year. We sat down at restaurant Koulu, talked and enjoyed some beer and salmiakki shots. Like Joscelyn Godwin, I got an impression that Gerhard was very friendly, not posturing, and he was clearly following his own star. His music, writings, photography and travels had formed a multifaceted living piece of art from well over two decades of pursuing his unique path. I had for some time thought about making an interview with Gerhard and meeting him made me think that it was the right time for it. Gerhard liked the idea and I started to write an interview for him.

In the following interview Gerhard tells about his writings, music, travels, inspirations, panteism, Christianity, mountains, and many other things, such as sauna, Koskenkorva, salmiakki, Pippuriset pääkallot, Santa Lucia and Jean Sibelius.

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For those readers who don’t know you yet, would you give an introduction of yourself – who are you, what have you done and what are you doing nowadays?

I started in my youth recording on old cassette recorders strange music that consisted of loops of kettledrums, violins, metals. I wrote surrealistic poems and texts on loud type-writers and also started at an early age taking photographs. I still have today hundreds of diapositives that I should digitalize one day.

I was very much interested in alchemy, and this fascination inspired all my artistic activities. Still today, twenty years later, I am in some way working very similar although nowadays computers are of course involved. But still today I am recording in a very old-fashioned way, without using a computer programme. The cassettes became CDs, the little photocopied booklets that I did in my youth became printed magazines or books, and the camera I am working now with is a digital one.

I was very much interested in alchemy, and this fascination inspired all my artistic activities.

I myself did not change that much, I do not feel that much different from the time when I was 17. Still today I am full of enthusiasm, full of chaos, and hopefully this will remain like this for the next decades. ”You must have chaos within you to give birth to a dancing star”, like wonderful Friedrich Nietzsche wrote. I see myself nowadays like a kind of troubadour in a telectronic age, spending a lot of time on music, poetry, travelling to present these songs to a smaller or larger audience in various countries – and sometimes I am performing these songs in old castles too. But apart from travelling I also enjoy living in Wien which is definitely one of the most beautiful cities of the world. I did not grow up in Wien. I was born on the country-side, the first large city that I got to know was Berlin, I was staying there some weeks when I was 16. Wien I only got to know when I was 17.

You played live in Finland again, at Tampere, on 7th of December 2012. How was it? It was your second time here, right? How did it differ from your previous gig in Turku in 2007?

Allerseelen live in Moscow 2012. Photo (c) Miss Goodwrong

Allerseelen live in Moscow 2012.
Photo (c) Miss Goodwrong

The live performance in Tampere was our second concert in Finland. The first had taken place in Turku in October 2007. Then the line-up was very different, in Turku there were on stage Marcel P. on bass, Dimo Dimov on drums and I. But as both have been very busy with studies and working, since 2012 the current line-up of Allerseelen is consisting of Christien H. on drums and Noreia on bass. Both concerts were thus quite different.

Some new songs we were performing in December in Tampere for the very first time on stage – and two of these new songs were inspired by my Finland preparations: The song Grünes Licht / Green Light was inspired by magnificent aurora borealis photos. Unfortunately I did not see these wonderful lights when I was in Finland. Hopefully another time. Another song, Neunmondmesser / Nine Moon Knife was partly inspired by the Finnish knife puukko and the Kalevala moment where Kullervo finds a stone in his bread that destroys his only knife. Both songs will be on the next Allerseelen CD Terra Incognita.

On our Tampere guestlist was even Kiira Korpi. Unfortunately she did not show up – it would be great to see her dancing to some of our songs.

You traveled after the concerts in Tampere and Rakvere, Estonia, for some time in Southern Finland – what kind of impressions you got from these places? Where did you go, what were your favorite places, experiences? What was your impression of Finland?

Unfortunately I did not have time to see the paintings of Hugo Simberg in the Tampere cathedral. I like very much some of his works. After our Tampere concert we had to leave really early to travel by bus and ferry-boat and another bus to Rakvere in Estonia. We were performing there the next evening.

After some beautiful days in Rakvere and Tallinn, I returned for two weeks to Finland. It was a wonderful experience. When we performed in Turku in October 2007, I really enjoyed the traditional sauna combined with short baths in the cold sea. Already then I had been looking forward to another visit in Finland, hoping that this would happen again in the cold months of the year. And I had good luck. This December I spent again some time at saunas in various places – and it was wonderful to roll naked in the snow after the sauna.

Santa Lucia procession.Photo (c) Gerhard Hallstatt 2012

Santa Lucia procession.
Photo (c) Gerhard Hallstatt 2012

I also saw two beautiful Santa Lucia processions in Turku and Inkoo. I even filmed the Santa Lucia procession in Turku but still have to work on this video. In Turku there were many people watching the procession of Santa Lucia with the burning candles on her head. But in the small church of Inkoo there were not many people.

I was with a friend because I had seen photos of the danse macabre paintings inside this church. We did not know about the Santa Lucia procession there. I was glad to take some beautiful photographs combining lovely young girls with their candles and the kuolemantanssi frescoes.

The fortified island Suomenlinna was very impressive too. This might inspire another Allerseelen song. Some places that I had intended to visit were closed, for example Ainola, the house of Jean Sibelius in Järvenpää, and the wonderful castle Olavinlinna. So there are many reasons to return. Also I really enjoy lakritsi, salmiakki – as sweets as well as alcoholic drinks. Only some days ago I saw a photo of the absinthe spoons that are on display in Jean Sibelius´ house in Järvenpää – I did not know that he was drinking absinthe too. So I have at least a little bit in common with Jean Sibelius.

What have been and are your biggest influences in music, literature, and art in general?

Berlin was maybe the place that changed my life most as there, living for some time in a squat, I got to know the music of Einstürzende Neubauten, Deutsch Amerikanische Freundschaft, Abwärts. I was there when I was 16. I was again in Berlin when I was 18 – and then I saw there SPK live which had been a big influence on me together with the industrial music of Throbbing Gristle.

Gerhard Hallstatt, Schwedenhöhlen, Niederösterreich. Photo (c) Zeke Maziur.

Gerhard Hallstatt, Schwedenhöhlen, Niederösterreich. Photo (c) Zeke Maziur.

One of my favourite writer was and is Arthur Rimbaud – his magical symbolism, his travels, the mysteries in his biography, also his sudden and surprising decision to stop writing. When I was 17, I spent some weeks in France, visiting the village where he lived, visiting his tomb and travelling to many other places in France. When I was 19, I was again in Northern France, I saw there Psychic TV live in Rouen.

I am inspired a lot by writers like Antonin Artaud, Hermann Hesse, Ernst Jünger, Friedrich Nietzsche, Rainer Maria Rilke. The Industrial Culture Handbook published by Re/Search many years ago was a real book of revelation for me: Suddenly I came across a counter-culture that combined controversial musicians, heretic writers, revolutionary artists, cultural outlaws. I liked and still like very much the art of Man Ray, Edvard Munch, the Pre-Raphaelites, I love films by Jean Cocteau, Alejandro Jodorowsky and Pier Paolo Pasolini. In fact, my artistic pantheon contains of dozens of artists that I might consider as inspirations, masters, muses, and a list would be really long.

How you came up with the names Aorta, Ahnstern and Allerseelen? How they manifest the substance of their vessel and aim – and what are their aims?

I am inspired a lot by the writings of Friedrich Nietzsche, and I also like very much his words “Of all that is written, I love only what a person hath written with his blood. Write with blood, and thou wilt find that blood is spirit.“ So there were many reasons to chose the name Aorta for my record label and also the magazine. Whereas the word heart had been used too often in too kitschy contexts and the concept of blood was too often too strongly connected with destruction and war, the word Aorta still contained some innocence beyond kitschy or romantic visions of love and war.

Drums of Calanda, Spain.Photo (c) Gerhard Hallstatt

Drums of Calanda, Spain.
Photo (c) Gerhard Hallstatt

The name of my book Blutleuchte – which is also the name of a Finnish music project – means Blood Lantern. This title was inspired by the cult of the Blutleuchte that had been founded by Alfred Schuler and some other poets and philosophers around Stefan George in Munich around 1900. They believed in the pagan blood of prechristian antiquity and wanted a pagan renaissance. Alfred Schuler was also a big inspiration for Rainer Maria Rilke.

Ahnstern was an old German word for the planet Saturn, I had discovered this word in a book on runes. I used this name for magazine after I had published twenty issues of Aorta. The record label Steinklang also uses this name as sub-label.

There are many reasons why I chose the name Allerseelen. This name was partly inspired by Georges Bataille, by Pier Paolo Pasolini and especially by the concept of the Dia de los Muertos in Mexico the rites uniting life and death in early November. Only some years ago I found out that very similar traditions also existed in Austria and still exist in Bulgaria.

What it means to be an artist in your case?

Without art, life would really be boring, a waste of time. I have been accustomed for all these years to either working on something in music or poetry or photography. I am lucky that I may combine all these arts in the Allerseelen releases.

Without art, life would really be boring, a waste of time.

Human bones and leaves in a small lake. Photo (c) Gerhard Hallstatt 2007.

Human bones and leaves in a small lake.
Photo (c) Gerhard Hallstatt 2007.

I could not even imagine a life without art, without being surrounded by books, paintings, records. If I had to choose between a life without art, without aesthetic addictions, artistic obsessions and a death with art, I definitely would choose this adventurous terra incognita named death. It seems that I have the romantic impression that the realm of death is filled with art, beauty, poetry. In my youth I was also obsessed with death, I was collecting human bones and skulls, and I was fascinated by the stigmata of Catholic visionaries. I wrote about this in my magazine Aorta, these texts were then also published in the book Blutleuchte. This was definitely inspired by blood-stained Catholicism in my childhood, the theatre of cruelty that I got to know in churches and at school.

You have been doing your projects for quite long time already. How your approaches and interests have changed during the years? What subjects you don’t find anymore so important or interesting, what subjects have lately emerged? What subjects have continued to interest you?

If I am in love with something, I may be really stubborn. I still have the same interests that I had in my teenage years: art, occultism, surrealism, symbolism, travelling. In the past some people saw Allerseelen in a political context – but I was never really interested in politics. Politics were only of interest for me when they were connected to art or occultism. Thus I was and am still very interested in the biographies of magical monarchs like Ludwig II from Bavaria or Rudolf II in Prague or Frederick II in Italy.

Les Agudes, Catalunya.Photo (c)Sabinita 2002.

Les Agudes, Catalunya.
Photo (c) Sabinita 2002.

There is a still a lot of fever inside my head and heart, an ardent enthusiasm for utopies and visions. I do not feel adult at all. I am still living in a quite archaic way, surrounded by books, heating with wood. I do not download music, I am not accustomed to read electronic books. I always knew that time is more important than money. An archaic life without many responsibilities, in some way similar maybe to the way of life of E.M. Cioran in Paris, had been my dream when I was 17 – and it became reality. Hopefully this dream still will be reality when I am 71.

I still have the same interests that I had in my teenage years: art, occultism, surrealism, symbolism, travelling. In the past some people saw Allerseelen in a political context – but I was never really interested in politics.

Basically I am interested in things that combine culture and nature, paganism and christianity. I visited cromlechs, dolmens, menhirs in many countries. I have always been fascinated by magical and tragical biographies. This is why I wrote in my magazines and in my book Blutleuchte about visionaries and artists like Kenneth Anger, Bobby Beausoleil, Leonora Carrington, Corneliu Codreanu, Otto Rahn, Leni Riefenstahl, Viktor Schauberger, Rudolf Schwarzkogler, Karl Maria Wiligut and many others – all their lifes had magical and tragical qualities. All these fascinating and more or less controversial personalities still today are interesting me very much. If I wrote today about these artists and occult or political or ecological visionaries, my texts would definitely be different. But I am not certain to which extent they would be different.

What is or are your own favorite Allerseelen records and why?

I prefer the last two CDs named Hallstatt and Rauhe Schale. Both contain for me very intense memories. My recordings are always very individual and personal, even today when I am working on stage and in studio with various other musicians.

Allerseelen: Hallstatt. Ahnstern/Aorta (2007).

Allerseelen: Hallstatt.
Ahnstern/Aorta (2007).

Allerseelen sometimes have been compared to a group like Laibach – but this only makes sense in a superficial way. Maybe because of some musical elements, maybe because of the use of sometimes dangerous symbols. But Allerseelen never has been a collective, and the Allerseelen lyrics and visions are very subjective. In many ways, the Allerseelen CDs are acoustic diaries. For me they represent microcosms that are manifestations of a certain period of my life with specific experiences and impressions, beautiful ones, powerful ones, sad ones. Each song has a special story that quite often is only known to me.

In many ways, the Allerseelen CDs are acoustic diaries.

I also like the very early Allerseelen recordings that I released on cassettes with dozens of loops that I recorded with a bought violin and kettle-drums that I had stolen from a church. Although usually I am not listening to my own recordings. I love my songs when they are slowly coming into existence, when I feel a certain sacred marriage between rhythms and melodies and lyrics. When a song is finished, I usually stop listening to it. Probably because I already know it too much by heart. The process, the path has always been more important for me than the result, the peak, this is for me as valid in music as in travelling, as in the mountains. If life is the path and death is the peak, I am also definitely more interested into the path.

Blutleuchte is a book of yours that came out the last year. What the book contains? How you got Joscelyn Godwin to write the introduction to it? I remember you mentioned to me in Turku (while having beer and salmiakki shots at Koulu) that he is a friend of yours, do I remember this correctly?

Gerhard Hallstatt: Blutleuchte. Photo (c) Gerhard Hallstatt.

Gerhard Hallstatt: Blutleuchte.
Photo (c) Gerhard Hallstatt.

I liked our evening at Koulu in Turku – and I hope to return there soon. Joscelyn Godwin is a real renaissance scholar. He wrote several fascinating books about alchemy, magic, music and various other topics. We know each other for several years. We met various times in Wien, and I also visited him when he lived for some months in Venice. He had been a subscriber of my magazines Aorta and Ahnstern, so he already knew all the texts of the Blutleuchte book before I asked him if he might like to write a foreword. These now completely sold out magazines Aorta and Ahnstern had been bi-lingual magazines in German and English about my experiences, impressions, studies.

Some texts were like travel diaries – I wrote about my travels to little villages in Italy and Spain, about my visits at castles like Montsegur in South France and Castel del Monte in Apulia. Other texts, like small biographies, were the result of patient researches at libraries. I always wrote about artists and visionaries that were fascinating me. And I wrote always also about my own fascination.

So far there are already American and French editions of my book Blutleuchte containing all these texts and I think that in 2014 also German and Spanish editions finally will be available too. I am looking forward to these editions. All of these will be available via my Aorta Mailorder.

You have a strong interest in occult, pagan and folk related subjects. Which one of these describe you the best: an atheist, an agnostic, a pagan? If pagan, what kind of a pagan?

I would call myself a pantheist, and my pantheon is nature, this is why I spend as much time as possible outdoors.

I would call myself a pantheist, and my pantheon is nature, this is why I spend as much time as possible outdoors. I have been interested in a lot of different traditions, alchemy, kabbala, magic, shamanism, tarot. As an artist I always have been considering everything from an aesthetic point of view, and this is valid also for the world of occulture. This is why I may be fascinated as much by a Tibetan painting as by a Catholic fresco, by a rock painting in Finland as much as by a petroglyph in a temple on Malta. I am fascinated by Mithraism and visited various Mithras temples in Austria, Italy, Slovenia. Some weeks ago I visited a very small Mithras grotto close to Dubrovnik in Croatia. But I do not consider myself as follower of Mithras.

What do you think of Christianity and catholicism?

In my pantheism there is also a lot of place for Christian traditions and myths that very often have their roots in pre-christian, pagan traditions – like for example the beautiful Santa Lucia processions in Scandinavia. All Christian plants seem to have pagan roots.

I am a pantheist who is also fascinated by Christian mysticism, I like the writings of Meister Eckehart, of Saint Hildegard. Christianity is fascinating as a strong syncreticism with so many aspects borrowed or stolen from the mysteries of Isis, Cybele, Mithras. Catholicism is a bloody myth – but I still have to meet a Catholic who really believes in the most important dogma that bread is turned into sacred meat, that wine becomes sacred blood. I never met anyone who believed this. I suppose that all over the world there is thus only existing a hard core of maybe only some hundred or thousand real Catholics.

Cocullo, Abruzzi, Italia. Photo (c) Gerhard Hallstatt.

Cocullo, Abruzzi, Italia.
Photo (c) Gerhard Hallstatt.

I am fascinated by several Catholic phenomena like stigmata. Years ago I did a lot of research on the stigmatized Therese von Konnersreuth in Bavaria and wrote about this in my book Blutleuchte after a visit in the small village Konnersreuth. In Blutleuchte I also wrote about the bloody Semana Santa drums of Calanda in Spain that Luis Bunuel used as soundtrack for some of his movies. I was two times in Calanda. And also in the small village Cocullo in Italy I was impressed by a nowadays Christian procession with living snakes on San Domenico– this tradition definitely has a pagan, pre-christian root. Maybe soon I will travel there again…

Actually especially Catholicism is a real pantheon and pandemonium with all its Saints, with its colourful hell and more or less pale heaven. In the Kansallismuseo in Helsinki I was incredibly fascinated by a very realistic sculpture of the pagan Lalli who had killed bishop Henrik. The dead bishop was standing on the bloody body of Lalli who had very beautiful eyes and held a book in his hands. I identified immediately with this pagan and his book. Only later I was told details about the life of Lalli.

You have traveled a lot. Where you have been, what traveling means to you – pilgrimages? I recall you have described your travels as ”magical mystery tours”. What places have made the deepest impression on you and why? What are the most special experiences you have had during these travels?

Luckily we have been invited with Allerseelen to perform in a lot of countries in Europe. We also performed in North America and Russia – and I always try to combine these concerts with some explorations of culture and nature in these countries. It would make me sad to visit for example Helsinki just for one night.

Basically I am very curious. So very often I am returning from countries with dozens of wonderful experiences and impressions that may inspire new songs. From Finland and Estonia for example I came back with great Kalevala and Kalevipoeg impressions. I am learning a lot in these concert travels. I got to know new artists, musicians, writers – and I came back also with a lot of lakritsi, salmiakki, strange sweets like Pippuriset Pääkallot and delicious drinks like Leijona Pastilli Shot, Koskenkorva Lakritsi.

Cocullo, Abruzzi, Italia.Photo (c) Gerhard Hallstatt

Cocullo, Abruzzi, Italia.
Photo (c) Gerhard Hallstatt

I had very strange experiences when I travelled in my youth alone to the Italian volcanoes Vesuvio, Etna and Stromboli. I have not yet written about these experiences but will do so one day. I still have my diaries, some photographs and even some super-8 filmings that I took on Etna. I had not been well equipped at all, no good shoes, not enough water, not enough realism. A lot of dangerous things might have happened. Nowadays I would go there again much better prepared – with good maps, with more water – and I would not go there in hot August like I did when I was 18. I did not have enough water when I was on Etna and had already some hallucinations before I finally knew that I had to return to survive. I wounded my foot when I wanted to climb inside the crater of Vesuvio. And on Stromboli strange things happened too.

In these days in Southern Italy and Sicily I had with me Also sprach Zarathustra. In some way I was as crazy as the volcanic philosopher Friedrich Nietzsche. While I am talking about this, I feel again a very strong desire to leave again for these volcanoes – there are only paths as volcanoes do not have peaks. “For staying is nowhere.” (Rainer Maria Rilke: Duineser Elegien)

You mentioned the castles Montsegur and Castel del Monte. Can you tell us something about them?

Montsegur, Ariege, France. Photo (c) Gerhard Hallstatt.

Montsegur, Ariege, France.
Photo (c) Gerhard Hallstatt.

Usually the most impressive places are those where I am travelling alone. In this I am very close to the Steppenwolf described by Hermann Hesse in his famous novel. I visited the Cathars´ castle Montsegur in South France two times. The first time it was magical and intense, I had slept outdoors in my sleeping bag for several days, I had walked for hours. It was a real tour de force.

When I arrived in the late afternoon at Montsegur, I was the only visitor. It was raining a bit, and I knew that I would stay there over night. I also spent nights in other castles of the Cathars, these nights at Queribus and Peyrepertuse were intense too. During my second visit on Montsegur I felt like an average tourist as I was not alone. It was the same castle yet it was not the magical Montsegur that I had witnessed in my first visit. I really believe in the well-known saying: The path is more important than the peak.

Usually the most impressive places are those where I am travelling alone.

The next time I will again travel alone to Montsegur to spend there another night. I was visiting the octogonal Castel del Monte in La Puglia, Italy, in a very similar manner, walking for several hours on small roads towards a magical castle that looked from the distance like a white crystal on a hill. When I was going there I did not know where I would stay over night. I did not care as I also had my sleeping bag with me. My travelling then was in some way close to the travels of Arthur Rimbaud. While I am telling this, I feel a strong desire to visit both places again in the same Steppenwolf manner – alone, walking a lot with a backbag filled with a sleeping bag, with maps and books and water and a knife.

Lastly, what about mountains? You often mention mountains in your songs.

Vihren, Pirin, Bulgaria. Photo (c) Gerhard Hallstatt 2007.

Vihren, Pirin, Bulgaria.
Photo (c) Gerhard Hallstatt 2007.

Mountains have been very important for me in the last ten years. And usually I like the paths up to the peaks more than the peaks themselves. On the peaks I usually feel a certain emptiness. I felt this emptiness also in the castle Montsegur. ”Six thousand feet beyond man and time” is a good description of Friedrich Nietzsche who wrote about his years close to the wild mountains of Engadin in Switzerland, high above manhood, high above average life.

Julius Evola wrote several essays about this in his Meditations on the Peaks, inspired by his tours on difficult mountains in Austria, Italy, Switzerland. I hope to visit one day the glacier where his ashes are buried.

Some days ago I was sleeping alone in a mountain hut on the mountain Schneeberg in Lower Austria that has a room for emergencies that is always open. On a height of over 2.000 metres, I was drinking Koskenkorva Lakritsi and thinking of my beautiful days in Finland.

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Vielen Dank für das Interview, Gerhard!

There is going to be a review of Gerhard’s book Blutleuchte and Allerseelen’s CD Rauhe Schale in the blog in a near future.

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Related links:

Allerseelen

Gerhard Hallstatt: Blutleuchte

Aorta Mailorder

Gerhard Hallstatt: Blutleuchte + Allerseelen: Dein Herz schlägt aufwärts

Allerseelen: Das Feuer fragt

Allerseelen: Wo ist das Leben

Allerseelen remixed two songs of Agalloch for the Agalloch DoCD / DoLP Whitedivisiongrey:

Allerseelen / Agalloch: Dunkelgraue Stille

Allerseelen / Agalloch: Nur noch Asche
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Read Full Post »

I decided to put some more Laibach concert pictures here. These are from their Tavastia concert in Helsinki 26th of July 2005. Photos (c) Mesikämmen.

One review of the concert (in Finnish) can be found from here.

Read Full Post »

Laibach in Helsinki. March 27th, 2012. Photos (c) Mesikämmen.

Mesikämmen had an honor to talk and shake hands with Ivan Novak, one of the founding members of Laibach. Ivan also collectively signed Mesikämmen’s NSK passport.

Here is the set list of the gig. Laibach played all songs of the list except Geburt einer Nation. I think the most surprising song in the set was Warme Lederhaut (cover of Warm Leatherrette).

You can find a video clip of Ti, ki izzivas and Die Liebe here, Leben-Tod and Le privilege des morts here, B-machina here and Tanz mit Laibach here.
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Other entries in the blog about Laibach:

Onko Laibach natsibändi?

Art is fanaticism that demands diplomacy.

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Laibach on tulossa jälleen Suomeen. Tämän lisäksi pian bändin 27. maaliskuuta olevan Nosturin keikan jälkeen elokuvateattereihin saapuu Iron Sky-elokuva, jonka soundtrackistä bändi vastaa.

Näiden ajankohtaisten aiheiden tiimoilta Mesikämmenelle tuli mieleen julkaista suomeksi Alan Cabalin Gallery-lehdelle maaliskuussa 2000 kirjoittama artikkeli, josta selviää, onko nyt kuunatsi-scifistely-komediaan musiikkia tehnyt bändi itse hiukkaakaan natsahtava.

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Onko Laibach natsibändi?

Mielikuva vapaudesta muuttuu ajan myötä… Meille vapaus on kanssamme samalla lailla ajattelevien vapautta – Laibach, 1985.

Alan Cabal

Näin Laibachin ensimmäistä kertaa kesäkuussa 1992. Paikka oli Limelight New Yorkissa. Kieroon kasvaneet ystäväni olivat vuosien ajan koettaneet saada minua kiinnostumaan tästä bändistä, mutta minusta oli tullut vanha kyynikko joka ajatteli, että rock-musiikista oli tullut täysin korporatiivista. Oli vaikea löytää mitään syytä Tower Recordsin labyrintissä haahuiluun, etsien joidenkin nuorien pseudo-kapinallisten musiikkia, joka vain apinoi keski-ikäisten itsensä myyneiden muusikoiden juttuja. Mietitäänpä nyt. Oli aika, jolloin G.G. Allin nousi lavalle, paskansi lavalle ja viskasi tuotoksensa sitten yleisön niskaan – tästä transgressiivisestä aktista tuli suurimmalle osalle rock-muusikoita täysin tavoittamaton tavoite. Marilyn Manson on ainoastaan Alice Cooper steroideilla. Mieluummin hankin Hoagy Carmichaelin kokoelmaani kaikki hänen levynsä kuin alan kuuntelemaan Marilyn Mansonia. No, mitä tuohon Laibachin keikkaan tulee, niin sisäänpääsy ei maksanut paljoa eikä minulla ollut tuona iltana muutakaan tekemistä.

Keikka oli varsin huvittava. Paikalla oli paljon riidanhaluisia nuoria skinheadeja punaisissa Doc Martenseissaan. He näyttivät pahantuulisilta ja valmiilta pistämään hösseliksi. Laibach oli kiertueella Kapital-levynsä merkeissä. Konsertti alkoi karskilla Burundi-rumpaleiden soiton tulkinnalla sekä sellaisella seinälle heijastetulla taiteella, jota natsit olivat aikoinaan julistaneet kielletyksi. Tämä sisälsi Kahe Kollwtiziä, John Heartfieldiä, sekä Entarte Kunstia. Bändin jäsenet nousivat lavalle univormuissaan ja he onnistuivat kuorimaan pääni auki kaikkein mielettömimmältä kuulostavalla industriaalimelskeellä mitä olin koskaan kuullut. Paikalla olleilla nuorilla natsipunkkareilla ei ollut lainkaan asiaan kuuluvaa kielitaitoa tai taidehistorian tuntemusta, ja he olivat täysin tietämättömiä siitä mitä oikein tapahtui. Tämän bändin jäsenet eivät olleet natseja. He näyttävät sen sijaan pilkkaavan natseja. Heidän konseptinsa on melkoinen. Saksassa uusnatsit hyökkäsivät heidän kimppuunsa ja laittoivat lavan tuleen. Heidän totalitaarisen oloinen konseptinsa voi hyvin olla viimeinen transgressiivinen akti mitä rock-musiikissa saattaa olla jäljellä – ja sellaisena se on todellinen Fin de siècle rock ‘n’ roll-akti.

Tämän bändin jäsenet eivät olleet natseja. He näyttävät sen sijaan pilkkaavan natseja.

Laibach on hieman kuin Itä-Eurooppalainen versio Devosta, mutta siinä missä Devo parodioi amerikkalaista korporatiivifasismia, niin Laibach menee suoraan asian historialliseen ytimeen ja manipuloi natsitaidetta ja Neuvostoliiton realistista propagandaa. Devo oli hauskaa sanan “ha ha”-mielessä. Laibach taas on yhtä hauska kuin joku kadulla elävä tyyppi joka harrastaa täytettyjä eläimiä. Laibachin taiteessa on paljon vähemmän ilmiselvää ironiaa kuin Devon taiteessa. Asia on itseasiassa niin, että jos kuuntelet ainoastaan mitä he sanovat, niin heidän taiteessaan ei näytä olevan minkäänlaista ironiaa.

Laibach perustettiin Trbovljessä, Sloveniassa 1979, missä kaivostyöläisten lakko sotien välissä laukaisi Jugoslavian vallankumouksen. Bändin nimi tulee slovenialaisen kaupungin Ljubljanan saksankielisestä versiosta, mikä on jo itsessään provokaatiota. Ljubljanaa on kutsuttu Laibachiksi kahdesti historiassa, ensimmäisen kerran Itävallan miehityksen aikana noin tuhat vuotta sitten, toisen kerran natsivuosina, jolloin Hitlerin joukot piirittivät kaupunkia heikoin tuloksin. Josef Titon hallinnon aikaan vanhassa yhdistyneessä Jugoslaviassa bändiä kiellettiin käyttämästä nimeään esiintymisiensä yhteydessä. Bändin situationistinen natsi-estetiikan omiminen yhdistettynä univormu- ja lippumieltymyksiin sopivat huonosti Jugoslavian viranomaisten käsityksiin siitä, mikä oli sopivaa.

Vuonna 1984 Laibach oli perustamassa kollektiivia nimeltä NSK, Neue Slowenische Kunst (Uusi Slovenialainen Taide). Kun Jugoslavia romahti, NSK julisti itsensä “virtuaaliseksi valtioksi”. Seuraavassa on ote NSK:n informaatiopamfletista:

MIKÄ ON NSK?

“NSK:n perusinformaatiota kysytään usein: mistä siinä on kyse, koska se perustettiin, mikä on Laibachin ja NSK:n filosofia, jne. Pähkinänkuoressa, NSK on rakenteeltaan yksinkertainen mutta monimutkainen mekanismi, jonka täsmällinen selittäminen muutamin sanoin on mahdotonta. NSK aloitti toimintansa suurena kollektiivina 1984. Kollektiivin muodostivat useat eri ryhmät, joita yhdisti heidän ajattelunsa ja samankaltainen itseilmaisunsa erilaisten medioiden kautta. Keskeisimmät NSK:n muodostavat ryhmät ovat Laibach, Irwin, Noordung, New Collectivism Studio ja Department of Pure and Applied Philosophy. Näiden lisäksi on olemassa eräitä joustavia alaosastoja, jotka nousevat esiin kun tarve niin vaatii, ja jotka sitten katoavat oman inertiansa voimasta. Jokainen edellämainituista ryhmistä toimii omana yksikkönään, vaikkakin ryhmien siteet ovat lujat ja hedelmälliset. Ryhmien jäsenet tapaavat toisiaan säännöllisesti, he puhuvat ja suunnittelevat suurempia yhteisiä kampanjoita, testaavat keskenään esteettisiä ja muita preferenssejä, vaihtavat ideoita ja konteksteja, matkustelevat yhdessä, jne.

Mitä näiden ryhmien filosofiaan tulee – sitä voidaan sanoa mahdottomaksi laittaa sanoiksi, mikä tarkoittaa tietysti sitä, että sen ymmärtävät ne ketkä sen ymmärtävät. Kyseessä on tietynlainen runous, joka heijastuu kaikessa Laibachin taiteessa, mikä pitää sisällään haastattelut, ja mikä voidaan tulkita monin eri tavoin.

Taide ja totalitarismi eivät ole toisiaan poissulkevia. Totalitaariset hallinnot tuhoavat illuusion vallankumouksellisesta, yksilöllisestä taiteellisesta vapaudesta. NSK perustuu yksilöllisen maun, arvioiden, ja vakaumuksien tietoisen hylkäämisen periaatteelle, vapaaehtoisiin depersoonallisuuksiin, sekä tahdonalaiseen ideologian omaksumiseen ja “ultramodernin” hallinnon naamioistariisumiseen ja päätökseen viemiseen.”

Oliko kyllin selvää tekstiä? Todennäköisesti ei, ellei taidehistoria ja Guy DeBordin ja Situationalist Internationalin työt ole sinulle tuttuja. Pieni Jugoslavian historian tunteminen ei sekään ole pahitteeksi. Jos palataan vielä bändin vertailuun Devoon, niin oli aina ilmiselvää, että Devo laski asioista vain leikkiä. NSK/Laibach taas on yhtä vakavasti otettava kuin sydänkohtaus. Asiaan liittyy huumoriakin, mutta se on hyvin Itä-Eurooppalaista ja sävyltään synkkää.

NSK on alkanut laskea liikkeelle omia passeja ja omaa valuuttaa. Tämän lisäksi he myyvät monenlaisia korkealaatuisia tuotteita aina solmioista, solmioneuloista, videonauhoista, huiveista, kirjoista, nallekarhuista, mukeista ja tuhkakupeista alkaen. Nallekarhujakin? Kyllä vain, kauniilla pikkukarhulla on asiaan kuuluvasti myös pahaenteinen Laibachin käsivarsinauha.

Laibach julkaisi 1994 NATO-nimisen albumin ja aloitti Occupied Europe NATO-kiertueensa. Kiertue kattoi 31 kaupunkia ja kesti vuodesta 1994 vuoteen 1995, kiertueen viimeisen konsertin sijoittuen sodan keskellä olevaan Sarajevoon. Laibach saapui kaupunkiin kaksi päivää aikaisemmin kuin NATO:n joukot ja he julistivat Sarajevon NSK:n alueeksi, myöntäen samalla satoja NSK:n passeja. Monet onnistuivat pakenemaan maasta näiden passien avulla. Tällainen kumouksellisuus yltää sellaiselle tasolle, mistä mikään aikaisempi rockbändi ei ole osannut edes unelmoida. Se on myös tuhannesti radikaalimpaa kuin happolappujen jakaminen tie-dyed-vaatteisiin pukeutuneille hemmotelluille urpoille, jotka kuluttavat pikkutuntejaan parkkipaikalla Birkenstock-kengilleen yrjöillen. Mute Records julkaisi 1996 pienilevikkisen video/CD-paketin, joka dokumentoi tätä kiertuetta ja tuolloisia Sarajevon tapahtumia. Näitä paketteja ei ole jakelussa kuin 2000 kappaletta.

Laibach saapui kaupunkiin kaksi päivää aikaisemmin kuin NATO:n joukot ja he julistivat Sarajevon NSK:n alueeksi, myöntäen samalla satoja NSK:n passeja. Monet onnistuivat pakenemaan maasta näiden passien avulla. Tällainen kumouksellisuus yltää sellaiselle tasolle, mistä mikään aikaisempi rockbändi ei ole osannut edes unelmoida.

Laibachin discografia on valtava ja vaikuttava. Omiin suosikkeihini kuuluvat heidän tekemänsä soundtrack Noodrungin tuottamaan Macbethiin, huomattavan fasistiselta kuulostava Opus Dei (joka sisältää Ezra Poundin vanhan sodanvastaisen puheen), sekä heidän Sympathy for the Devil ja Let it Be -coverinsa. Bändi äänitti ei enempää eikä vähempää kuin 18 erilaista versiota Sympathy for the Devil:stä ja laittoi The Beatlesin koko Let it be -albumin aivan uuteen muottiin. Aikaisempi inhottavan siirappinen ja sokerinen The Beatlesin kuolinhenkäys on Laibachin versiona laitettu tiukaksi ja äänekkääksi oluttupabakkanaaliksi. Kapital-levy miellyttää sellaisia industrial-musiikin kuuntelijoita jotka pitävät myös hip hopista. Bändin viimeisin levy Jesus Christ Superstars taas pitää sisällään sellaista oivaa metallista ulottuvuutta, joka sopii loistavasti pitkiin automatkoihin tai huoliteltuihin fantasioihin kaupunkielämän tuhoutumisesta.

Laibachin haastattelut ovat kinkkisiä tilanteita: bändin jäsenet tiukasti karttavat julkisuuden henkilöiden kulttia ja kieltäytyvät vastaamasta kysymyksiin yksilöinä. Jos bändiä haluaa haastatella, on varauduttava tähän: He tulevat vastaamaan kollektiivina. NSK on julkaissut suurikokoisen, kauniisti toteutetun kovakantisen kirjan joka pitää sisällään taidetta, runoja, manifesteja, sekä otteita haastatteluista, joita bändi on antanut vuosien 1985 ja 1989 välillä. Bändin haastatteluissa antamat vastaukset ovat hyvin osuvia ja huvittavia. Kun bändiltä kysyttiin “kiehtooko teitä fasistinen vaatetus?”, he vastasivat että “fasismi on seksikästä! – tämä on täsmälleen sama kaupallinen slogan, jota länsimaissa käytetään Carnaby-street-tyylisille tuotteille. Meidän näkökulmastamme natsi-fasismissa on kyse avoimen terroristisesta diktatuurista, jossa ilmenee finanssikapitaali kaikessa konservatiivisuudessaan, nationalismissaan ja imperialismissaan. Demokratiaan naamioidussa natsi-fasismissa on kyse FINASSIKAPITAALIN ITSENSÄ VALLASTA.” Kun bändiltä kysyttiin suoraan, ovatko he fasisteja, he vastasivat: “Me olemme samassa määrin fasisteja kuin Hitler oli taidemaalari”, minkä jälkeen he jatkoivat itsensä kuvailua “maailman ulkopuolella olevan Hengen tiiliskivinä”.

Me olemme samassa määrin fasisteja kuin Hitler oli taidemaalari.

On rohkaisevaa tietää, että rock-musiikissa on edelleen olemassa älyllisen elämän merkkejä, ja jollain tavalla tähän kuvaan sopii, että nuo merkit tulevat Balkanin niemimaalta. Winston Churchill totesi kerran, että “balkanialaiset tuottavat enemmän historiaa kuin he pystyvät sitä kuluttamaan”.

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Sitten tämän artikkelin kirjoittamisen (maaliskuu 2000) on Laibach ja NSK saaneet aikaan yhtä ja toista, mitä artikkelista ei tietenkään selviä. Niiden, ja Laibachin historian suhteen muutenkin, kannattaa tutustua seuraaviin linkkeihin:

Laibachin viralliset sivut.

NSK:n viralliset sivut.

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Dokumenettielokuvia:

Laibach: Victory under the Sun.

Laibach: Predictions of Fire.

Laibach: A Film from Slovenia.

Laibach: A film about WAT.

Laibach: Divided States of America.

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Aiheesta aikaisemmin Mesikämmenen blogissa:

Art is fanaticism that demands diplomacy.

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