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We have taken great care in making this album what we believe to be our best yet, and we hope these songs are taken to people's hearts.\"\" The album is introduced by lead single Stand Together, a song that sets the tone for what follows. As Rick explains, it is \"\"a call to arms and a rallying cry for some kind of unity in the world we live in today.\"\" For a band that has already enjoyed a career most artists could only dream of, Shed Seven feels less like a victory lap and more like the start of another chapter. 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More than fifty years after Bijelo Dugme's debut marked the beginning of a new chapter in Balkan rock history, Laibach revisit this iconic material through their own monumental sonic language. The result is a dialogue between two eras, two artistic visions, and two approaches to the symbols through which societies understand themselves.Die Kanone is not merely a reinterpretation of a historic song - it is a contemporary commentary on the shifting relationship between industry, technology, and militarization. The title evokes the transformation of industrial production and the unsettling reorientation of established manufacturing traditions toward the production of weapons and systems of warfare. 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Keigo Oyamada acted as musical director, while contributors including Yasuharu Konishi helped shape it's distinctive cinematic world. The album features a wide variety of musical styles, including a cover of a Serge Gainsbourg classic, the duet 'Wakakusa no Koro' with Monsieur Kamayatsu, and 'Itsuwari no Koi - Ai no L'amour -' with Masatoh Ibu. This edition also includes as bonus tracks 'Wakakusa no Koro (Let's Sing with Kahimi Karie)' and 'Itsuwari no Koi - Ai no L'amour - (Let's Sing with Kahimi Karie)', both of which were originally available only on the first pressing of the CD release. 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Blending the hushed melancholy of jazz with the weight and menace of doom, the band pioneered what became known as \"doom jazz\" or \"noir jazz\": glacial, instrumental soundscapes built from mournful saxophone, spectral Rhodes, brooding piano, deep double bass and the softest brush of drums. Over three decades and a devoted international following, they have made after-hours darkness their signature. As it's title suggests, \"Piano Nights\" (2014) draws the piano gently to the centre of that world. On their seventh album, the band distil two decades of slow-motion noir jazz into something exceptionally spare and tender: Morten Gass's hushed piano and Fender Rhodes drift over Christoph Clöser's smoky saxophone, brushed drums and deep, patient bass, each note left to hang and dissolve in the dark. 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More than fifty years after Bijelo Dugme's debut marked the beginning of a new chapter in Balkan rock history, Laibach revisit this iconic material through their own monumental sonic language. The result is a dialogue between two eras, two artistic visions, and two approaches to the symbols through which societies understand themselves.Die Kanone is not merely a reinterpretation of a historic song - it is a contemporary commentary on the shifting relationship between industry, technology, and militarization. The title evokes the transformation of industrial production and the unsettling reorientation of established manufacturing traditions toward the production of weapons and systems of warfare. 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More than fifty years after Bijelo Dugme's debut marked the beginning of a new chapter in Balkan rock history, Laibach revisit this iconic material through their own monumental sonic language. The result is a dialogue between two eras, two artistic visions, and two approaches to the symbols through which societies understand themselves.Die Kanone is not merely a reinterpretation of a historic song - it is a contemporary commentary on the shifting relationship between industry, technology, and militarization. The title evokes the transformation of industrial production and the unsettling reorientation of established manufacturing traditions toward the production of weapons and systems of warfare. The automobile factories of yesterday become the military-industrial landscapes of tomorrow; the machinery remains, only it's purpose changes.Through the collision of Bijelo Dugme's original rock mythology with Laibach's industrial ritualism, Die Kanone examines how economic power, technological progress, and military ambition become intertwined. It reflects on a world where the language of production increasingly merges with the language of conflict.This collaboration brings together two legendary forces: Bijelo Dugme, pioneers of Yugoslav rock culture, and Laibach, internationally recognised for their uncompromising exploration of ideology, aesthetics, and power. Together, they transform a historic song into a new statement on the cycles of history and the mechanisms that shape the present.The track \"Die Kanone\" and it's Slovenian version 'S topom te bom ciljal moja mala' (\"I'll aim my cannon at you, my little one\") will be released physically for the first time, along with previously unreleased remixes by German industrial\/EBM legends DIE KRUPPS, UK producer The Lincolnshire Poacher and the Slovenian\/Croatian electronic duo Black Dot. 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From moments of wonder and discovery to danger, mystery and adventure, Marianelli’s score brings the Impassable Wilderness to life, capturing the scale, emotion and imagination of LAIKA’s Wildwood. 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