Here we go again! Part wishful thinking, part playing detective while piecing together social media updates, and part actual facts! We could only be talking about our latest crystal ball viewing as we look to the year 2023 and hope for the best that those “confirmed” releases actually come out and that maybe our thoughts and prayers are answered when it comes to those with less concrete plans as of this posting. Join us, won’t you?
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Much like legendary musical chameleons David Bowie or Madonna, KMFDM’s Lucia Cifarelli traverses a tantalizing line that subverts genres and dwells in a place that’s all things Electro, Industrial, Pop, and more on I Am Eye. Speaking of the Material Girl, Cifarelli’s first solo outing in nearly twenty years is almost like an Industrial-tinged Confessions On A Dance Floor where it takes a known quantity and transplants it into a glorious new sonic world to give fans the follow-up to From the Land of Volcanos that’s more than worth the wait.
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Not even parts of a whole anymore but fans of KMFDM’s beginnings have surely been getting a treat these last few years with that Industrial juggernaut still rolling along after 30+ years and Raymond Watts’ PIG back in full swing since 2016 and, more often than not, utilizing the talents of fellow former KMFDMer’s like En Esch and Steve White (As well as axe-master Gunter Schulz who does not feature on this particular record) as is the case with PIG’s latest outing The Merciless Light.
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There’s no denying that, almost 40 years into their career, the Industrial juggernaut known as KMFDM is still a force to be reckoned with on the scene. They’ve survived a constantly changing music industry, line up changes, and most recently, a global pandemic to come back with what might be their greatest, and most “KMFDM”, release to date with HYENA which sees the light of day on September 9th through Metropolis Records. Recently we had the privilege of chatting with KMFDM singer/songwriter Lucia Cifarelli via email about the new record, the upcoming fall tour (Hitting Boston’s Paradise Rock Club on October 12th), her recent solo outing I Am Eye (Available via Bandcamp here) among other topics and it goes a little something like this:
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If you’re not having fun while listening to new KMFDM music then you’re doing it wrong. That said, the 22nd (!!!) full-length from the legendary Industrial outfit might be their most fun outing yet. Filled with the kinds of blistering anthems you’d come to expect from Kap’n K and the gang, HYENA still manages to both enthrall and excite, surprise and stimulate this far into KMFDM’s career.
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The Birthday Massacre have yet to disappoint. In fact, with each new offering the Toronto Electro outfit seem to continually push the envelope and defy expectations over and over again so it should come as no surprise then that on their 12th release they go further down the rabbit hole to come out the other side into an expansive new haven filled with all their synthetic signatures and grandiose Gothic overtones on an album that is undeniably TBM through and through.
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I don’t why I thought it’d be a good idea to do both an end of the year list and preview list reflecting the year they’re happening in….but here we are. Our list of twenty one albums and change has already posted (Which you can read here) so now it’s time to close the book on 2021 and look to the future with 22 albums we think will make this year sound even better than the last…and change.
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Forget Morgan Freeman, I want Bill Leeb to narrate every inane facet of my life! With biting tones laid out so smooth, can you really think of anyone else who delivers messages of chaos prophesying the end of days so well? For now, though, I’ll settle by hearing Leeb recite mechanically-tinged raspy rhymes on the latest Front Line Assembly record. For now.
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With an association as prolific as the one that Raymond Watts had with KMFDM, it’s inevitable that there will be comparisons from time to time. While Watts’ work as <PIG> is definitely its’ own monster, the latest offering in this current second coming of the Industrial giant is easily Watts’ Nihil. Filled with all the substance to back up that larger-than-life swagger, Pain Is God is a hefty record encapsulating all that’s made <PIG> great yet soaked in this mid-90’s synthetic haze.
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Diamonds, the eighth album from Toronto’s The Birthday Massacre, is a blissful slab of elegantly executed Electro that’s sure to be an exquisite listening experience for all the earholes.
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