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Dec 21, 2018There's a couple of additions to the soundtrack in the shape of Korean folk standards "Arirang" and "The Sound of Gayageum" along with an address from the North Korean minister for Cultural Relations tagged onto the end.
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Nov 29, 2018Truly an artifact of an artistically authentic, cold war-era radical sensibility which predates today's insipid art movements, the album is one of those which will make you think more than it'll make you dance. In this day and age, that's certainly something we could all use more of.
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Nov 26, 2018Gloriously silly it may be, but this album is as bright as that favourite copper kettle.
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Nov 26, 2018Laibach has done little to diminish their brilliance on a loaded, thought-provoking, and immeasurably entertaining release.
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MojoNov 20, 2018It reframes familiar, comforting songs of joy, innocence and goatherds within pitiless orch-industrial rock and suspicious pop softness, rediscovering the original's Nazi-assailed gravity and reflecting on a divided Korean peninsula and the international power relations beyond. [Jan 2019, p.84]
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Nov 20, 2018Of course half the fun is in hearing how the band have transformed oh-so-familiar songs into something quite different, and transform them they truly have.
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Nov 21, 2018Essentially, the album is business as usual for Laibach, which means that if you're in on their grand scheme, it's another exquisitely orchestrated laugh riot.
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Classic Rock MagazineNov 20, 2018TSOM's strange, taut, heroic beauty invariably transcends irony. [Dec 2018, p.89]
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Nov 26, 2018Divorced from the context of the North Korea shows the purpose of these songs seems a little unclear, even factoring in the wordplay of “How do you solve a problem like Korea”, so the final few tracks are crucial to the album.
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Q MagazineNov 20, 2018A minor work from a mighty band. [Jan 2019, p.110]
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The WireNov 21, 2018This record has its moments, for instance the squarewave basslines and breakbeats of “Edelweiss” and the outro to “Climb Ev’ry Mountain”. However, as is often the case with Laibach, the pervasive air of calculated irony prevents the album from passing from the ridiculous to the sublime, even when it all gets so silly that on paper it sounds like it should. [Dec 2018, p.52]