Laibach音乐上来说是一支工业音乐组合，队中的成员喜欢把他们看做一个集合体而不是单独的一名名成员。Laibach被视作是一群法西斯分子，他们的音乐充满着瓦格纳追随者的那种愤怒而且常常以戎装出现，并且切身履行着德国法西斯的哲学思想。就象Laibach所表述的那样：“我们是法西斯分子，就象希特勒是画家一样”。作为纳粹分子，他们总是要找到某个攻击对象以为自己的形象添色，而Laibach无所顾忌地把自己作为攻击对象并且很情愿地把自己和周围环境孤立起来。同时Laibach也显示出对名声可笑的巨大渴望，乐队的唱片封面深刻体现着反纳粹相片合成师John Heartfield的艺术影响，乐队还把自己的现场演出描绘成奇特的政治聚会。在乐队采访中，乐队的回答就是辛辣的宣言却从不破坏自己的形象。在成立的同一年南斯拉夫的长期领袖铁托去世了，Laibach在1980年成立于前南斯拉夫，斯洛文尼亚的一个产煤的工业城镇Trbovlje。他们的名字来自于一个临近的城市Ljubljana，这座城市在德国占领期间就叫Laibach。成立当初乐队就准备在Trbovlje举行名为“Red Districts (Rdeci revirji)”的演出，想用他们的表演抗议当时城镇的政治体制的内在矛盾，但他们第一次演出就因为使用一些有争议的标志而被官方取消，同时兵役也使得他们直到1981年6月才有机会继续排练。Laibach首次演出是在1982年1月的Ljubljana，紧接着是全南斯拉夫的一次旅行演出，乐队还在Ljubljana举行的一次名为“New Rock”的音乐节上亮相。乐队的83年的Last Few Days是Laibach第一次正式的音乐发行，先是由Staal Tapes发布，随后是Skuk。Milan加入乐队成为主唱，他那独特的低吼以及阴郁的眼神至今还人过目不忘。1983年6月23日乐队在南斯拉夫电视台上首次亮相，在一个政治新闻采访节目“TV Tednik”中，他们那刮地干干净净的脸庞和挺拔的军装一时激起全国去除所有在Ljubljana里Laibach的字眼，这条禁令直到1987年才得以废除。1983年11月到12月期间，Laibach第一次举行了欧洲巡演——“Occupied Europe Tour”，还有英国组合Last Few Days的助阵，这为期17天的演出囊括东欧和西欧的16座城市和8个乡镇。在Laibach即将发行EP——“Panorama/Die Liebe”之际，乐队计划开一场演出，一夜间大街小巷里便贴满了代表Laibach的十字标志的海报。然而不但演唱会而且海报统统给宪兵制止了。1984年12月21日，Laibach与一群志趣相投的艺术家——画家团体Irwin以及剧院团体Scipion Nasice Sisters共同成立了一个非正式、推崇唯美主义运动的团体Neue Slowenische Kunst——NSK。NSK经常出席乐队的演出，演出地点还由Irwin出任的美工。乐队的首张专辑“Baptism”——封面就是一个十字，由Slovenian Ropot公司发行于1985年，其中包括乐队为NSK的舞台作品“Baptism Under Triglav”配的原声，因为由于禁令这张专辑并没有引上乐队的名字，却只有一个乐队的十字标志，在1999年这张专辑又以“Laibach”为名重新发行。Laibach的音乐如今依然保留着动人心弦的行军脚步与录音循环结合的声效，但这只有Throbbing Gristle，Nurse With Wound以及一些相似的乐队的乐迷会去仔细咀嚼品位，但事物总是在改变的。Laibach1985年的专辑“Rekapitulacija 1980-1984”由汉堡独立唱片公司Walter Ulbricht Schallfolien发行，这张唱片是乐队第一次走入国际唱片市场。随后的1986年的“Nova akropola”被英国独立品牌Cherry Red接下美国的Wax Trax!和英国的Mute为Laibach的1987年专辑“Opus Dei”发布首次提供了推广的机会，Laibach也被英国的Mute正式签下。专辑中包括了一曲Queen的“One Vision”翻唱，加入了怪异重型节拍，还有流行度相当高的乐队杰作“Life Is Life”，两首单曲都拍成了MV播放于各电视台。随后乐队举行了一场全球巡演，还受Michael Clark委托为他的舞曲公司制作音乐。1987年Laibach在斯洛文尼亚举行了自84年以来的首次演出，这也是乐队自1983年禁令以来举行的首次正式演出。Laibach将流行乐翻成瓦格纳似的音乐风格的思想在乐队1988年的EP“Sympathy for the Devil”中得到了发扬，唱片中包括了滚石经典曲目的多版本翻唱，以及甲壳虫Let It Be除了标题曲之外的整张专辑的翻唱，在Let It Be里的一首“Across the Universe”还是由NSK团体成员Germania乐队演唱的，其中的女声仙乐主唱后来出现在Laibach的多张专辑中。随后又是一场全球性质的巡演，他们的达拉斯TX演唱会还由短命的Videophile唱片发行过bootleg录象专辑。1990年12月26日乐队在Trbovlje的发电厂举行了演出，这也是10年来Laibach首次在家乡父老面前抛头露面，这次演出也是纪念Laibach10年诞辰以及NSK团体的建立。Laibach的成功带来了乐队多张专辑的重新发行，1990年Laibach还为NSK的有关迈克白作品原声出任了管弦乐伴奏。为庆祝柏林墙的拆除，Laibach制作了一张名为“Oktober/Geburt Einer Nation”的单曲碟，唱片中的音乐开始象电气方向倾斜，还由神秘的Kraftbach制作了一张混音。Kapital出于跟上东欧资本主义发展脚步的考虑，在92年接下了发行这张微型电气作品的任务。随之Laibach又举办了一次全球巡演，在表演里乐队的成员还把脸涂成银色的，同时Laibach又重新发行了一些作品。而Laibach返回自己那夸大其词的翻唱的音乐理念是在前南斯拉夫解体北约加紧发动战争的时候，乐队的电气风格则传给了Laibach新的玩票队300,000 V.K.，这个玩票队还发行了首张专辑“Also Sprach Johann Paul II”。Laibach在1994年发行新专辑“NATO”之后举行了一场宣传巡演，同时在1996年发行了张限量专辑以及录音版专辑“Occupied Europe NATO”，在同一年里，Laibach还出版了一张宗教题材的翻唱专辑“Jesus Christ Superstars”，为这张专辑的宣传演出旷日持久，断续断续直到Laibach2003年发行新专辑“WAT”之前才得以结束。1997年Laibach在欧美旅行之际还有一次意义重大的演出，其中包括在乌克兰、俄罗斯以及西伯利亚，演出的最后一站是在塞尔维亚，前南斯拉夫首都贝尔格莱德，Laibach在3500人面前深情的演出是已持续8年之久的前南内战以来的在家乡的首次表演。而Laibach演艺生涯中最重大的一次演出无疑是在斯洛文尼亚Ljubljana举行的“欧洲文化月”开幕典礼，在这次演出中，Laibach与斯洛文尼亚交响乐团一起合作，将气势宏大的管弦乐配入月丢早期的工业音乐中，这精湛的表演让许多出席演出的外国领袖，还有众多外国合唱团留下了深刻影响，然而演出也带来了许多富有争议的影响，使得斯洛文尼亚管弦乐团放弃了与Laibach的继续合作。而Laibach的新专辑“WAT”再次返回了电气音乐风格，也是乐队用自己挖掘发展的音乐材质制作完成的第一张流行乐作品。众多年来乐队已经发行了15张专辑以及不计其数的EP和卡带，并为15个舞台作品配过音乐效果，其中包括Baptism Under Triglav(NSK/Scipion Nasice Sisters Theatre, Cankarjev dom),No Fire Escape In Hell(Michael Clark and Co.),Macbeth(Shakespeare/Wilfried Minks,Deutsches Schauspielhaus,Hamburg),Noordung Prayer Machine(Cosmocinetical Cabinet Noordung,SNG Opera Ljubljana)等等。Laibach is an industrial group whose members prefer to be known as a collective rather than reveal individual names; theyve been seen as fascists and of practicing Germanophilia because of their musics Wagnerian thunder and their military attire. According to Laibach, We are fascists as much as Hitler was a painter. Since fascism needs a scapegoat to flourish, the members of Laibach mocked it by becoming their own scapegoat and willingly sought alienation. Showing a ridiculous lust for authority, Laibachs releases featured artwork influenced by anti-Nazi photomontage artist John Heartfield, and the groups live shows portray rock concerts as absurd political rallies. In interviews their answers are wry manifestos, and they never break character.Formed the same year longtime Yugoslavian leader Marshall Josip Broz Tito died, Laibach started activity in 1980 in the industrial coal-mining town of Trbovlje in the center of what is now Slovenia. They took their name from the nearby city Ljubljanas title during Nazi occupation. Their first performance was canceled by authorities for their controversial use of symbols, and military service kept them away from performing until June of 1981. Laibach first played Ljubljana in January of 1982, and the Ljubljana-Zagreb-Beograd collection captures some the groups performances from this time from cassettes sold at shows. The Laibach/Last Few Days cassette from 1983 was the groups first proper release, and cassettes from labels like Staal Tapes and Skuk followed. Milan Fras joined as vocalist, and his distinctive growl and grim stare still makes him the groups most recognizable member. An appearance on Yugoslavian TV with shaved heads and military attire provoked the state to issue a ban on the name Laibach in Ljubljana that was not lifted until 1987. Around the time of the EP Panorama/Die Liebes release, a concert was planned and posters put up overnight with only Laibachs trademark cross representing the group. Both concert and poster are captured on M.B. December 21, 1984. Laibach soon joined the likeminded artist collective Irwin and theater group Scipion Nasice Sisters to form the organization Neue Slowenische Kunst, or NSK. NSK became involved in the groups concerts and Irwins artwork would often be displayed at venues. The groups debut studio album, which also featured the cross only, was released in 1985 but was reissued in 1999 as Laibach. Baptism, from 1986, includes the groups soundtrack to the NSK stage production Baptism Under Triglav. Laibachs music had remained a challenging combination of military marches and tape loops that only fans of Throbbing Gristle, Nurse With Wound, and the like paid much attention to, but things were about to change.Wax Trax! in America and Mute in the U.K. gave 1987s Opus Dei Laibachs first widely available release. Included were bizarre thumping cover versions of Queens One Vision and one-hit wonder Opus Life Is Life, and videos of both were shown on MTV. A worldwide tour followed, and Laibach was invited by John Peel to do a Peel Session and Michael Clark commissioned the group to provide music for his dance company. The idea of covering pop music in Wagnerian style was expanded on 1988s Sympathy for the Devil EP, which included multiple versions of the Rolling Stones classic, and Let It Be, which reproduced the whole of the Beatles album, minus the title track. Let It Be included a version of Across the Universe, sung by fellow NSK members Germania, whose ethereal female vocals would show up on many later releases. Another world tour followed, and a bootleg video of a Dallas, TX, concert showed up on the short-lived Videophile label. The groups success caused various early recordings to be reissued, and 1990 saw Laibach return to more orchestral work with its soundtrack to a NSK production of Macbeth. Laibach celebrated the fall of the Berlin Wall with the Oktober/Geburt Einer Nation single, containing more of a techno slant and a remix credited to the mysterious Kraftbach. Released in 1992, Kapital fully embraced minimal techno and focused on the growth of capitalism in Eastern Europe. A world tour (with each members skin painted silver) and more reissues followed. A return to the bombastic cover versions was heard on the war-focused NATO as the former Yugoslavia fell apart. The techno was left up to the new side project 300,000 V.K. and its debut, Also Sprach Johann Paul II. The NATO world tour was documented on the limited-edition CD and video box set Occupied Europe NATO in 1996, the same year the band released the religious-themed and cover version-filled Jesus Christ Superstars. That albums live show toured the world on and off until the release of 2003s WAT, a return to techno and the bands first pop album to contain primarily self-penned material in a while. The 2004 compilation Anthems featured two CDs: one compiling singles, the other remixes. Volk from late 2006 reimagined national anthems from around the world, including those of Germany, Italy, the U.S., and even the Vatican.