Pouppee Fabrikk - "The Dirt" CD

Fine classic-style aggro-electro

After an absence of 12 years, this Swedish electro-EBM act has returned, and damned if "The Dirt" isn't a fine retro-styled electro sequencer assault in the vein of classic DAF or early Nitzer Ebb. In fact, a notice inside the packaging (titled "EBM Is Dead") announces that many of these songs were originally conceived back in the late 80s, and have been entirely re-worked in 2012-2013 by the band, eschewing modern electronic trends and club-friendliness in favor of old-school aggression, directness, and ultimate simplicity. I say bravo!

Opening with the harsh "Bring Back The Ways Of Old", these 11 tracks are classic harsh, gutteral, and potent old-school electro -- with no frills and no apologies. My only complaints are with the often-clumsy lyrics, but then again this is a Swedish band, and English may not be their native tongue. "Bright Light" is brutish electro-thrash, harkening back to classics like Front Line Assembly's "Caustic Grip" era, but with more aggression. "Death Is Natural" slows things down a mite, but stays angry, dark, and heavy, as does the churning, pulsating "Promulgation". "Symptom" is another barn-burner of amped-up electro-thrash -- effective and cool. "The Dirt" is a solid release, tailor-made for fans of classic electro-EBM.

Alfa Matrix

Pouppeebook

Nitzer Ebb - "Industrial Complex" CD

In the roughly 15 years since the last new Ebb material, Nitzer Ebb's instrumentalist Bon Harris has spent time programming for bands like Smashing Pumpkins and Marilyn Manson, while vocalist Douglas McCarthy has worked with Ebb-inspired dance producer Terrence Fixmer, as well as Alan Wilder's electro-blues project, Recoil. But these influential English electro-dance-punks reunite with the impressively strong "Industrial Complex", and they do a right good job reclaiming the harsh sequencer-driven sound of their earliest work (a la "That Total Age"), especially on the energetic opener, "Promises" (which made it's debut on the "NCIS" soundtrack). The sloganeering and authoritarian ranting of their old days is gone, though, replaced by more developed songwriting and production. There are also softer electro ballads like "Going Away", which reminds of (old friends, tourmates, and collaborators) Depeche Mode. No coincidence that Depeche's Martin Gore himself guests on "Once You Say", which bears a similarity to Mode's "I Feel You" a wee bit. But that's not to say this is a mope-fest by any means. Cuts like "Hit You Back" are more rock-oriented, echoing their later work on albums like "Ebbhead". And the thunderous "Payroll", originally heard on the "Saw IV" soundtrack, is a welcomed injection of aggressive electronics and McCarthy's half-rap-shouted vocals. "I Don't Know You" is a retro-edged bit of synth-driven hypnoticism that shows Ebb's DAF-meets-Die Krupps roots more than amicably. "My Door Is Open" continues this trend, and is easily among the duo's more intense offerings since 1991's "Godhead". "Kiss Kiss Bang Bang" is another stomper that could be wicked on a dancefloor, but probably rocks too hard for most club-goers. It all ends on a lighter note with "Traveling", which is a more song-based piece that's as close to a pop song as this lot goes. Surprisingly good, sturdy, and potent work from a group that has successfully resurrected itself from the ashes. (Alfa Matrix)

Nitzer Ebb web

Die Krupps - "Too Much History" 2xCD

Jurgen Engler and his band have been innovators in their field, pioneering electronic rock and 'industrial dance' since back in the late 70's. But he/they have made some major stumbles in the past. Their disastrous (and mostly laughably pointless) electro-recreation of Metallica back in the early 90's spawned a great deal of scorn and laughter among metal-heads and industrial kids alike.The band's mid-late 90's phase involved an endless stream of remixes of the same songs...and to make it all even more confusing, the American pressings shuffled the songs and mixed it all up even further. But we can likely blame Cleopatra (their then-US label during this period) for that.
Here, after a hiatus (when the band recorded under the name Dkay.com), Die Krupps returns with a double-CD of remakes of their past work. A curious idea, if the songs were much different. Sure, the production is much better now - old songs like 'Gladiators' or 'Metal Machine Music' have a more pronounced bass kick, and more distinct electronic layering. And although 'Fatherland' (easily my favorite DK track from the past) is smoothed out a little too cleanly, the band's trademark 'Germaniac' is still plenty powerful and heavy. And who can't like the classic anthem 'Machineries Of Joy', which features guest vocals from Nitzer Ebb's Douglas McCarthy? The whole thing ends up memorably with a fun and faithful cover of Pop Will Eat Itself's 'Ich Bin Ein Auslander'.
But in general, 'Too Much History' is simply a 'best of' comprised of remakes and remixes. There are a number of different DK 'greatest hits' compilations already available. This re-hashing seems opportunistic and unnecessary. (Metropolis)

Die Krupps website