KMFDM is rebellious.
A pioneer of industrial metal, the project was founded by vocalist and multi-instrumentalist Sascha “Käpt’n K” Konietzko in 1984. Now accompanied by his partner, vocalist/keyboardist Lucia Cifarelli, as well as drummer Andy Selway and guitarist Tidor Nieddu, the band announces the release of their twenty-fourth album, ENEMY, on Metropolis Records.
An ethereal sound introduces ENEMY, the album’s title track, but it is quickly replaced by a catchy beat and the instantly recognizable Käpt’n K’s vocals who lead the dance with ease, including on the break before letting a short solo slip through. The merry-go-round continues until we reach the equally motivating OUBLIETTE, a fairly simple but devilishly effective track where Lucia adds a touch of sweetness to a lively and heady rhythm worthy of the greatest gothic nightclubs. L’ETAT considerably darkens the atmosphere with heavy riffs that contrast with the danceable base but blend perfectly with the repetitive and oppressive French vocals, but the mood becomes more breathable again with the sensual VAMPYR. The track is clearly tailored for the stage, offering a refined sound conducive to mesmerizing movements, then Annabella Konietzko makes her first contribution as a composer with the danceable YOÜ, a track that will appeal to fans of pure industrial music. The dynamic tones return with the strange OUTERNATIONAL INTERVENTION, which goes back to metal roots with frenetic rhythms, but also disturbing noises, as does A OKAY, which surprises with retro keyboards worthy of the 80s. There is a heavier passage, but STRAY BULLET 2.0 once again offers us something strange and unexpected with its very groovy riffs, which I associated more with reggae, and which I never imagined I would enjoy in the slightest. The sound becomes a little more dynamic again for CATCH & KILL, a track where the vocalist switches from very calm singing to catchy passages, then GUN QUARTER SUE brings the metalheads back with its fierce saturation, which perfectly serves the noisy interludes and other guitaristic liberties. However, the track remains exclusively instrumental, then gives way after a final burst to THE SECOND COMING, the last track, which is quite dark and disturbing, remaining fairly stable and hypnotic, except for an acceleration in the middle.
I’ve never really listened to KMFDM much, and I’ve obviously wasted so much time! If all their albums are as varied and catchy as ENEMY, I obviously have some excellent hours ahead of me!
75/100