KMFDM
Nihil

One evening I find myself watching a disgustingly bad Japanese animated film of which I can't remember the name; maybe Street Fighter, maybe Cyber City, frankly I don't know. The Anime from the Land of the Rising Sun promises nothing good. And I'm bloody difficult when it comes to feature films of this kind. But... wait a second; the soundtrack is not bad at all.

Many rock tracks, including one by Alice in Chains that I already knew at the time. But something sounds off amidst this predominantly grunge soundtrack. In a very pulp scene, 4 and a half minutes of an industrial song of unheard-of violence start. An acoustic assault like nothing I'd ever heard before. Perhaps even something that could make Trent Reznor tremble in his prime. After a series of record store searches (in 1995 I didn't even know the internet existed), I begin a frantic search for this band that I then realize is made up of half German and half American members.

But KMFDM is not a real band. It is indeed a one-man-band, somewhat like Nine Inch Nails. The violent man is Sascha Konietzko, the founder of the group (the first album dates back to 1986). But let's leave the discography aside and talk about the masterpiece that is 'Nihil'. (oh, I forgot... the song from the Anime made in Japan is the first on this album and it's called "Ultra"). This album was released in 1995 and takes a lot of cues from Ministry and NIN while still maintaining its own original line that matches well with techno and speed metal.
Electronics that scratch, hurt, and are on the verge of tolerance for the more purist ears. For many, they might recall the old Skinny Puppy of 'Too Dark Park', a bit less demonic and more "dancy". To others, some sounds might be reminiscent of the 80s dance music. There are indeed female choirs in the CD, perfectly styled in the 80s fashion, but don't get any strange ideas. Often the choirs culminate in simulations of orgasms and screeching shouts, especially in the last albums, which are decidedly more "assaultive" and technically superior.

Konietzko's voice is grotesque and without too many pretensions. Special attention deserves the guitar of Guenter Schultz, at times melodic, and the next moment it becomes as heavy as a hatchet on the skull. If you start listening to this band, start with this CD (if you can find it in circulation) otherwise enjoy the last 2 CDs: "Attak" (where in the first song you hear the kamikaze planes crashing into the WTC) or "WWIII".