On the upcoming album MUSICK, Laibach both celebrate and playfully skewer our modern age of warped reality and kitschy AI imitation, through a collection of undeniably infectious pop that surrenders to hyper-driven postmodernity.
The album title itself, MUSICK, is the key to this ambivalence. It’s about oversaturation — about being “sick of music” in an age when there’s so much of it that we can barely make a genuine connection with it.
More than 100,000 new tracks get uploaded to the internet every day, and a growing share of them are AI creations, a kind of digital junk. As with so many aspects of modern life, even just listening to music now pushes us to question reality itself. MUSICK tackles this “sickness” through constantly distorted sounds and reference points, while also dealing with another kind of sickness: a pathological devotion to music — “an obsession, a kind of drug” — that keeps driving Laibach in this age of oversaturation.
The album is heralded by the single “Allgorhythm”, featuring Ghanaian singer Wiyaala. The track was produced by pop heavyweight Richard X (known for his work with Sugababes, Goldfrapp, New Order and Kelis), and it comes with a bright, cheerful video starring Laibach’s ever-prominent frontman and Wiyaala, designed to “glitch your algorithm” in the best possible way. This first taste of the album is a bold mix of electronic pop patterns, infectious hooks and relentless beats. In both content and form, the track deftly equates the manipulative nature of algorithms with the nature of music itself — both work like a spell we fall under. It all recalls the synth-pop aesthetic of the eighties, about which Laibach say:
“The eighties are not a nostalgic reference but a formative moment: the decade in which digital logic, neoliberal economics and mass media systems became fully operational and globally aligned. Synth-pop wasn’t merely a musical style; it was the sound of early automation, standardization and programmed emotion. By using this musical language in ‘Allgorhythm’, we’re not looking back but revealing the origin point of today’s algorithmic culture. The algorithm didn’t appear with artificial intelligence; it already existed in the drum machine, the sequencer, the grid, in preset parameters. Synth-pop normalized the idea that even emotions can be engineered, repeated and optimized. In that sense, ‘Allgorhythm’ is less a song and more a diagram. It operates within a familiar, almost comforting structure, while showing that systems of control work most effectively when they are pleasant, predictable and internalized. The album as a whole continues this logic: it doesn’t criticize algorithms from the outside but speaks their language — because power reveals itself most clearly when we imitate it, amplify it and let it expose itself.”
On the collaboration with Ghanaian pop singer Wiyaala, whose voice comes from a different musical and cultural context, Laibach say:
“Working with Wiyaala came about naturally and without calculation. Her voice brings a human presence that doesn’t belong to the closed circle of Western digital pop. It brings friction — a different rhythm, emphasis and physicality — against the rigid, programmed structure of the track. Within ‘Allgorhythm’, her presence works as both contrast and amplification: not as an ‘exotic’ counterpoint, but as a reminder that global systems absorb all voices, regardless of their origin. At the level of MUSICK as a whole, this tension between the organic and the programmed, the local and the universal, runs through the entire release. The system doesn’t exclude difference — it integrates it.”
In this way, “Allgorhythm” continues Laibach’s long-standing strategy: power reveals itself most clearly when we imitate it, amplify it and let it expose itself. This pop direction recently caught the attention of Slovenian public broadcaster RTV, which considered the track as a potential Slovenian entry for the Eurovision Song Contest 2026, before RTV Slovenija pulled out of the competition at the end of last year.
The album MUSICK was made in a maximalist spirit at Laibach’s studio in Ljubljana. Surrounded by every music-making tool imaginable — from analog synthesizers and toys to computers full of sound apps — Laibach invited collaborators from Slovenia and abroad, including longtime collaborator Donna Marina Mårtensson and Richard X. Although they dove into contemporary production styles, from K-pop and J-pop to ’90s Eurodance, the band insists:
“Our primary influence and reference point remained Laibach — in all its nuances, variations and historical transformations.”
The result is an album that’s unmistakably pop, yet at the same time unmistakably — Laibach.
Laibach hit the road on May 18 in Graz, then continue on a European tour.
For more info, see HERE.
Tracklist:
Musick
Fluid Emancipation
Singularity
Resistencia
Love Machine
Luigi Mangione
Keep It Real
Yes Maybe No
Allgorhythm
Das göttliche Kind
LAIBACH LIVE
18. 5. – Graz (AT) Orpheum
19. 5. – Schorndorf (DE), Manufaktur
20. 5. – Cologne (DE), Essigfabrik
22. 5. – Aarhus (DK), VoxHall
23. 5. – Gothenburg (SE), Filmstudion
24. 5. – Stockholm (SE), Nya Circus
26. 5. – Helsinki (FI), Savoy Theatre
27. 5. – Tallinn (EE), Kultuurikeskus
28. 5. – Riga (LV), Spelet Concert Hall
29. 5. – Vilnius (LT), Loftas
30. 5. – Warsaw (PL), Progresja
31. 5. – Prague (CZ), Palac Akropolis
2. 6. – Leipzig (DE), Täubchenthal
3. 6. – Munich (DE), Muffathalle
27. 6. – Maribor (SI), Festival Lent
24. 7. – Castle (SI), Kolpa Music Festival
25. 9. – Ljubljana (SI), Kino Šiška
26. 9. – Ljubljana (SI), Kino Šiška
29. 9. – London (UK), Islington Assembly Hall
30. 9. – Manchester (UK), Ritz
1. 10. – Southampton (UK), 1865
2. 10. – Canterbury (UK), The Gulbenkian
4. 10. – Ghent (BE). Democrazy
6. 10. – Bochum (DE), Zeche
7. 10. – Nijmegen (NL), Doornroosje
8. 10. – Hamburg (DE), Große Freiheit 36
9. 10. – Oslo (NO), Rockefeller Music Hall
11. 10. – Copenhagen (DK), Bremen Teater
13. 10. – Berlin (DE), Huxleys Neue Welt
14. 10. – Dresden (DE), Reithalle
15. 10. – Brno (CZ), Fleda
16. 10. – Zagreb (HR), Boogaloo
