En Esch - “Spank!” CD

Cool electro-rock from former KMFDM wildman

The enigmatic former co-frontman for KMFDM and Pigface here releases his second true solo album, and it’s a solid, enjoyable electro-rock album that falls right in line with his past work, with elements of hard rock and metal as well as clubby dance elements.

Opening with the club-metal of “12345” (which features a guest appearance from Tim Skold), the album heads into the anthemic “Hard On”, which would fit well on any KMFDM album. “Give The People What They Want” recalls Esch’s 1993 solo album, “Cheesy”, with a groovy electro-funk grunge sound. “Soul To Steal” is a trance-electronica cut that brings the exotic vocals of Trixie Reiss to the forefront. Further cuts bring present En Esch’s sense of humor (as in the silly interlude “I Hop”) before diving back into his aggressive rock-dance melding (the menacing “No Guts No Glory”). En Esch has retained the sound(s) that made him famous so many years ago, as well as kept the sense of experimentation that seems to have left Sascha’s KMFDM a long time ago. As much as I hate comparing En Esch’s work 20 years later to his formative act, the link is still there, and En Esch does it as well or, in many cases, better. 

Distortion Productions

En Esch solo site

Revolting Cocks - “You Goddamned Son Of A Bitch” 2xCD + DVD

All-time great electro-rock

Ah, this is classic Revco, recorded live at the Cabaret Metro in Chicago in 1987. Originally released as a single disc by Wax Trax!, this double-CD format simply adds a couple of live tracks from the later “Beers, Steers, & Queers” CD single, and expands it all over 2 discs. It’s basically the same package as Rykodisc’s 2004 reissue, but with most of the original artwork restored. The distinct lack of liner notes, and some glaring errors (like the back stating that Chris Connelly is from Killing Joke. Hah!) are both unforgivable and lazy. It’s this lack of historical notes or credits, and the fact that it’s housed in a cheap case that’s easily broken signals a quick cash job on the part of Jourgensen (who recently sold the rights to this to notoriously shoddy Cleopatra Records) and MVD Audio (whose label and name is attached to the packaging, rather than Cleopatra’s, oddly).

Anyway, the music sounds as good as it ever has. This was Connelly’s inaugural release with the band, and thus began a long partnership with Cocks/Ministry members Jourgensen, Barker, and Rieflin, all of whom feature prominently here alongside Belgian pop star-slash-madman Luc Van Acker. 

Opening with the droning noise and murderous caterwauling of the title track, the band pushes into the massive “Cattle Grind” — a sinister, murderous rampage that also showcases a young, brash, and hungry Connelly (literally and figuratively — check out how skinny he was in the video counterpart. Hah!). A series of punishing electronic rock assaults follows, with iconic cuts like “38”, “TV Mind”, and “No Devotion” being even more aggressive live than their studio counterparts. This, as I’ve said already, is seriously classic industrial rock, both hypnotic and stomping with a perfect melding of live instrumentation and electronic programming. 

The huge, pulsing “Union Carbide” opens the second disc, and the wild rampage continues through “Attack Ships On Fire” and “No Devotion” before giving way to the 1991 live tracks that do flow rather seamlessly, despite the difference in venue, era, and personnel. Mr. Connelly’s impersonation/performance “as John Lydon” on the cover of PIL’s “Public Image” is perfect and spot-on!

The DVD release (oddly sold separately from the music) also shows a curious and alarming lack of care and attention. Having never been available on DVD, this was always part of a Ministry/Revolting Cocks fans’ bucket list. But MVD (or Cleopatra)’s shoddy packaging again seems slapdash and careless. The transfer is merely adequate, possibly from a VHS source (most certainly not cleaned up in any way), and the art and labeling echoes the same misinformation as the CD (Connelly being from Killing Joke, etc.). 

All said, a lackluster treatment given to an album and video that remains, at least to me, a near-perfect representation of everything the Cocks ever stood for — unbridled hedonism, excess, and stainless steel precision. It’s a shame to see this great album and video treated so poorly, though I am quite happy to have an “YGDSOB” on DVD officially after all these years.

MVD Audio

Al Jourgensen's official site

b.o.s.c.h. - "Apparat" CD

Rammstein clones

This German band certainly owes a lot to their more famous countrymen in Rammstein or Oomph! Tracks like "Engel" are near-perfect clones of Rammstein's electro-tinged metal. There's the big riffs and gruff vocals, and the backdrop of simplistic electronic sequences. It's all there. Which would be great if there weren't already a Rammstein in the world. Or an Oomph!, or an Eisbrecher.

"Schwarze Sonne" is certainly effective enough in it's attack -- strong production, big rock elements, and borderline evil vocals. But, I'm at a loss with b.o.s.c.h.'s all-too-derivative sound. There's just nothing here that hasn't been done a decade or more earlier by Rammstein, Oomph!, or even some of Laibach's early rock/metal experiments. "Apparat" is the band's second album, but here's to finding a more individual and unique sound next time.

Dust On The Tracks Recordsbook

Aesthetische - "Powerswitch" CD

From former members of Brazil's top industrial dance/rock acts (Aghast View and Biopsy), this new project mines familiar territory. Opening with the hard club beats of "Brennbar!", the sequencers and gruff vocals continue through the generic "Less But More", which could be Front Line Assembly or Front 242 or any of the other hard dance stompers from the 90s, if only it had it's own personality.

"Stupid People Fuck Off" makes a case for more instrumental music from these guys, as the lyrics are as inane and juvenile as the title implies. Granted, English isn't their first language, but this is embarrassing! Ditto for the cheesy cover art, which shows the depths that the once-intelligent "industrial" scene has devolved into. I do concede that "Powerswitch" has some clean and punchy production, but the lack of songs, originality, and soul leaves me just cold. (Alfa Matrix)

KMFDM - "WTF?!" album

As a fan of KMFDM pre-2000 (when former members En Esch and Gunter Schulz were the band's "wild cards"), it's been a shame to see KMFDM lapse into sameness in recent years. Stalwart band leader (and frontman) Sascha Konietzko has kept the band going, with a steady stream of releases featuring wife Lucia and the former backing band for sometime-collaborator Pig.

The band's 17th album, "WTF?!" kicks things off with the anthemic electro-rock single, "Krank", which further recycles familiar KMFDM motifs and lyrics. It's a well-produced slammer, but nothing outstanding from this band. "Lynchmob" is an unusually fearsome metallic attack, with an amped-up tempo and killer fretwork. "Take It Like A Man" is a disco-style showcase for guest vocalist Free Dominguez (from Kidneythieves), whereas "Dystopia" and "Amnesia" utilize Lucia Cifarelli's more commanding "rock" voice in a dance-metal fashion. This is perhaps KMFDM's best work in some time. Enjoyable and hard-hitting, and a welcome return to form. (Metropolis)

KMFDM site

16Volt catalog for FREE

I've had a long history with Eric Powell and his venerable industrial/machine rock band 16Volt. While doing my own independent music zine, Godsend, back in the early 90's during the heyday of the Wax Trax! scene, I received a demotape from Nevada with three songs. I was instantly hooked with the strong songwriting, intense electronic programming and brutal aggression, and kept in touch with Eric for a while, giving his demotape an overwhelmingly good review and doing my best to promote it, even doing one of his earliest interviews.

16Volt interview for Godsend, 1991
16Volt followup interview for Godsend, 1999

Not long after that, he signed 16Volt onto fledgeling Re-Constriction Records, the new industrial imprint on Cargo US. From there, Eric released a number of increasingly heavy and precise albums of top-shelf electronic rock. Releases like 'Skin' and the blistering 'LetDownCrush' became influences and favorites of thousands (including some celebrity/musician fans), despite a sad and unjust lack of promotion.

Along the way, 16Volt has enlisted the musical and production assistance of such genre heavyweights like Dave 'Rave' Ogilvie, Keith 'Fluffy' Auerbach, William Tucker, Jared Hendrickson of Chemlab, Charles Levi of Thrill Kill Kult, Chris Vrenna of Nine Inch Nails, Paul Raven of Killing Joke, and many others. However, after some issues with labels and the general industry, Eric decided to leave behind his music. He returned anew in 2007 with the solid 'FullBlackHabit', and he's been recording new material to be released in September (tentative title: 'American Porn Songs'), with a full tour on the horizon, as well.

I, personally, had the chance to finally see the band live back in 1999, as they opened for KMFDM. A brief meeting with Eric was cordial and friendly, and we discussed hanging out after the show a bit, though other factors led to that never quite happening. Regardless, it's great to see one of my favorite genre musicians continuing his progression, making some of the catchiest, most infectious head-snapping sounds around.


Now, for several reasons you can read about on his page, Eric is making most of his deep and amazing back catalogue of music available for FREE download. He's taking donations, but it's not necessary. Read about it here:

16Volt free download info

Suffice to say, if you like stuff like Nine Inch Nails, Ministry, Skinny Puppy, Rob Zombie, etc., do yourself a favor and have a listen. Thanks for all your music through the years, Eric.

16Volt website

"Metal Machine Music - Nine Inch Nails And The Industrial Uprising" DVD

A curious account, this one. It's basically a NIN bio, completely unauthorized, but legitimized by the participation of former Nails Chris Vrenna and Rich Patrick, who have both gone on to successful careers in their own bands (Tweaker and Filter, respectively). Other writers and critics also have their say regarding Trent Reznor's rise, from his synthpop roots to his well-publicized battles with former record company TVT, to his recent experiments in alternative marketing and his successful back-to-DIY aesthetic. It's a solid and critical appraisal of NIN's albums. Clips from promo videos and live footage bolster the film well, as do some fine interviews with Jared Louche (of Chemlab) and Eric Powell (16 Volt) - both peers of Reznor. On the other hand, at least one writer featured here is purely sycophantic in his adulation/adoration for NIN...good for a chuckle at least.
What's most curious about this DVD is the first half-hour or so, which takes a whole different tact entirely. This is an examination, albeit a rather shallow one, of the beginnings of so-called 'industrial' music - highlighted (and indeed, made by) an extensive interview with Genesis Breyer P-Orridge. It's telling and fascinating, hearing it in her own words. Bits and pieces of live footage of Ministry, Skinny Puppy, Throbbing Gristle, Einsturzende Neubauten, Cabaret Voltaire, and Depeche Mode (??) litter this pre-NIN history. It's nice, though far from thorough. I'd really love to see this all expanded upon, with other important inspirations like Varese, Kraftwerk, Test Dept, Whitehouse, Boyd Rice, Front 242, and others included. But that's a whole different story altogether.
As it is, this 2+ hour documentary is an exceptional watch for NIN fans - offering some insight and rare footage. Maybe it is a bit surface, but this may be as close as we'll ever get to a true and definitive bio of Reznor and his NIN persona. (Chrome Dreams/Sexy Intellectual)

Puscifer – "V Is For Vagina" CD

First heard on the soundtrack to the otherwise repugnant first Underworld film, Puscifer is a more personal solo outlet for the evidently boundless creativity of Maynard James Keenan (who many of you know as the enigmatic Tool / A Perfect Circle frontman). With this new project, Keenan is at his most internalized - a microscope on his own weird thoughts and obsessions, and without the crutch of a band's input. From creepy hip-hop-inflected unclassifiables (“Queen B”) to dark and slinky electronic soundscape mantras (“Vagina Mine”) to more rock-oriented efforts (the industrial-edged “Undertaker”) to demonic funhouse mirrors (“Drunk With Power”), Puscifer offer a variety of twisted, provocative, and sometimes frightening moods and textures - and it's all tongue-in-cheek. Very enjoyable and a fascinating counterpoint to Keenan's other work. Listen for a guest spot from one Brian Lustmord, too. (Puscifer Entertainment)

Dave Gahan - "Hourglass" CD

The second solo effort from Depeche Mode frontman Gahan is a subtle and cohesive collection of tunes that move further from the rock-oriented directions of his previous solo work, and actually rival (or surpass) Depeche's own pieces of late. “Kingdom” is the obvious single, and is a top-shelf electro-rock anthem, whereas “Use You” is an industrial-tinged slice of bad-vibe and malediction. It seems that Gahan's tough-living bout in the 90's is well behind him, as he's making some of the most mature and intelligent music of his career here. Gahan's never sounded more confident and diverse, as tracks like the raw and edgy “Endless” illustrate. A few pieces falter a bit, as with the overdramatic and uncatchy “Miracles.” Nonetheless, 'Hourglass' is a solid and potent set of dark-edged reflections from one of the most influential vocalists in the genre. (Mute)