Laibach

THE Scala was once a very well-known cinema, but it's looking a bit worse for wear these days. Not the best of locations, either, by any stretch of the imagination, but the chance to witness a Laibach performance at first hand was definitely worth negotiating our way past the prostitutes and drug addicts of nearby Somers Town. And the interior is very modern, too, even if some of the stairways do reek of concentrated urine.

We arrived just in time for this event, which, given that the bar's limited selection of beer was no less than £3.20 a pint (and a very inferior pint at that), was probably a good idea. After a quick drink we ventured into the dimly-lit auditorium as the band's Classical backing tape gave the place a real European feel. The venue holds around 800 people and was packed to the rafters. And then, striding out of the clouds of dry ice like a millennarian prophet came the band's sombre-faced vocalist, Ivan Novak. Clad in leather trousers and matching waistcoat with his traditional head-garb and messianic whiskers, his four accomplices began to orchestrate the rumble of satanic rock for which Laibach are so famous.

The large screen at the back of the stage featured a wide selection of their videos, suffused with the group's circle-cog and cross logo and interspersed with various other subliminal symbols. Flanked by two female backing vocalists in Totenkopf hats, black vest-tops and microphone headsets, Laibach tore through some of their greatest hits: 'God Is God', 'Kingdom of God' and the excellent Rolling Stones cover, 'Sympathy For The Devil'. The gruff Slovenian accent sounded like a barbarian kicking his way into the barred gates of the West's capitalist pleasuredome, none more so than on 'Now You Will Pay': 'They'll come out of nowhere / They'll enter your state / The nation of losers / The tribe full of hate / With knives in their pockets / And bombs in their hands / They'll burn down your cities / And your Disneylands'.

Gradually, however, the performance began to resemble a totalitarian rave, as a constant stream of songs from their latest album ('Wat') gave their repertoire a decidedly techno feel. The highlight was the crunching new single, 'Tanz Mit Laibach', which certainly received a rapturous welcome from the audience. Ivan's striking accomplices delivered an immaculate performance throughout, consisting of sharp backing vocals and a well-timed and vigorous drum routine that made them appear as though they were indulging in a little on-the-spot skiing. The sound was also very crisp and clear, each instrument strongly defined and complimenting the band's faultless delivery. The only thing I found odd was the fact that Laibach were playing on such a small stage. Having watched their videos over the years they always seem more suited to Nuremburg than Kings Cross. But the problem is, of course, Laibach are not appreciated here as much as they are in the rest of Europe and this is the precise reason why they had to cancel their second proposed appearence at the Scala. As Laibach left the stage and prepared to fly straight out to Hamburg for their next date, we were left with flickering lights and a thudding dance beat: 'But when our beat stops / And the lights go out / And when we leave this place / You will be left here all alone / With a static scream locked on your face.' Perhaps not that dramatic, but a memorable night and one that many Londoners had been waiting years to experience.