Laibach takes over an organisational system of work, after the model of
industrial production and totalitarism, collective spirit, identification
with ideology, which means: not the individual, but the organisation
speaks. Our work is industrial, our language political. Laibach is a
recognition of time universality. Its organisational activity is an
intense agitation and a constant systematic propagating, ideological
offensive. Any social activity affects the mass. Laibach functions as a
creative allusion of strict institutionality, identification with
institution, as stock theatre, or popular culture with a centralized
programme. One transmitter and a multitude of receivers, and with a
communication through uncommunication. Laibach's musical approach is a
move to the area of pure politization of sounds as a means of manipulating
the masses. When, in politically and economically complicated situations,
the antagonism in society is becoming strained, only force remains as the
ultima ratio of social integration. The force must adopt the form of
systematic, physical and psychic terror, organized in accordance with
social relations. Terror is obtaining a function of productional power,
which extorts discipline and an adaptation of the mass, to the existing
productional relations, and the existing productional apparatus. For the
totalitarian form of government, the systematic terror becomes a
constitutional instrument of authority. Through the mystic,
erotic-mythological sound, constitution of an ambivalence between fear and
fascination, which rudimentarily affects the consciousness of people,
through stage performances of ritualized demonstration of political power,
and through other manipulative means of an individual, Laibach practises a
sound force, in a form of systematic, psycho-physical terror as social
organisational principle, in order to effectively discipline and raise a
feeling of total adherence bond of a certain, revolted and alienated
audience, which results in a state of collective , which is the
principle of social organisation. In this sense, the function of Laibach,
sound constructions, and of rock concerts is to challenge collective
emotions and automatic associations, and as such it serves as the means of
working stimulation. By darkening the consumer's mind, it drives him into
a state of humble contrition and total obedience, self-sacrifice, by
destroying every trait of individuality, it melts the individuals into a
mass, and mass into a humble, collective body. The dualism of Laibach's
message, perception and receiver's structure uncovers the social neurosis.
Laibach unites the biters and antagonistics into an expression of static,
totalitarism cry. Our basic inspiration, ideals which are not ideals to
their form, but the material of Laibach, manipulation of self, remains an
industrial production: art of the Third Reich, totalitarism, taylorism,
bruitism, disco. Disco rhythm, as a regular repetition, is the purest, the
most radical form of the militantly organised rhythmicity of technicist
production, and as such the most appropriate means of media manipulation.
As an archetypal structural basis of the collective unconscious in a
worker mass, it stimulates automatic mechanism, and shapes
industrialisation of consciousness, which is necessary in the logic of
massive, totalitarian, industrial production.