[114] Hughes' artwork is featured in KMFDM's music videos for "A Drug Against War" and "Son of a Gun", and on the band's promotional t-shirts. But that's why we can still make things happen. [65] A companion EP, Ruck Zuck, was released in 2006.

[85], On December 14, 2010, the official KMFDM website was changed to include a single image with the text "All Systems Have Been Ripped. [1] KMFDM released its next album, What Do You Know, Deutschland?, in December 1986. "[14], The band has made heavy use of guitars since its inception,[14] and pioneered their use during the band's early days in Germany. It's kinda improper German in regards to its translation but in the DA-DA-esque [sic] mindset of the early morning it made perfect sense. Hughes redesigned the album's cover,[1] and went on to design almost every KMFDM album cover. It told me the story of what went wrong. Jim Nash died of an illness complicated by AIDS,[19] and Seattle became the official headquarters of KMFDM. Harms, along with Lord of the Lost bandmates Pi (guitar) and Gared Dirge (keyboards), had been slated to perform as the live band for KMFDM's late 2017 tour. [1] The album was produced by Adrian Sherwood, and was described by AllMusic critic Dave Thompson as "[highlighting] the producer as much as the band". was on Billboard's Dance/Electronic Albums Chart for one week at No. What Do You Know, Deutschland? 29. 10 on the Billboard 200[32] and sold over 1.8 million copies. Despite the band's anti-MTV stance,[9] the video of "A Drug Against War" received airplay on MTV[2] and was shown on the MTV cartoon Beavis and Butt-head. [41] Its title track was called "a bitter goodbye".[54]. KMFDM (originally Kein Mehrheit Für Die Mitleid, loosely translated by the band as "no pity for the majority")[1] is a German industrial band from Hamburg led by Sascha Konietzko, who founded the band in 1984 as a performance art project. KMFDM was officially founded in Paris, France, on February 29, 1984, as a performance art project between Sascha Konietzko and German painter and multimedia artist Udo Sturm at the opening of an exhibition of young European artists at the Grand Palais. [136] The band used the Fankam project again for its 2011 "Kein Mitleid" tour in the United States.[137].

have been described as moving in an electronic, less guitar-focused direction by Trey Spencer of Sputnikmusic and AllMusic's David Jeffries.

Esch also separated from the group, and Xtort was created in 1996 almost entirely without his input. [83], KMFDM's sixteenth studio album, Blitz, released in March 2009, showcased further collaboration with Skold, but less input from the band members not living in Germany. [2], Konietzko released a second album under the Excessive Force moniker in 1993 titled Gentle Death. ", "KMFDM History on December 10, 2002, from archive.org", "Black Box: WaxTrax! [102] Our Time Will Come was released on October 14, 2014, on both CD and vinyl.

[118] Lyrics often express political concerns[37][117] and call for the rejection of and resistance to terrorism, violence, oppression, censorship, and war. "[9], The band's next club hit was "Split", which was released in June 1991 and reached No. "[131] Erlewine called the band "one of Wax Trax's first industrial superstars", "an underground sensation", and "one of the major industrial bands of the '90s.

[1][2] Watts toured with KMFDM throughout 1995 in support of Nihil, but then left the group to return to recording under the Pig moniker.

era, including "Juke Joint Jezebel", "Godlike, "Brute", and "Don't Blow Your Top". Nihil featured KMFDM's most widely known song, "Juke Joint Jezebel", versions of which appeared on both the Bad Boys and Mortal Kombat soundtracks, the latter of which peaked at No. [1][23] The band went into the studio in 1993 as a group to record its seventh album, Angst, which sold more than 100,000 copies over the next two years. Konietzko resurrected KMFDM in 2002 (Esch and Schulz declined to rejoin) on Metropolis Records, and by 2005 he had assembled a consistent line-up that included American singer Lucia Cifarelli, British guitarists Jules Hodgson and Steve White, and British drummer Andy Selway. "[5] Regarding the duo's dynamic, Konietzko said, "En Esch and myself have always been the cornerstone of KMFDM's existence. [150] Konietzko gave him more freedom to use whatever themes he wished, resulting in the cover to Money, which Hughes said "was based upon my disillusionment with the street lifestyle I was experiencing at the time, and the art carries with it the implication that no matter what temptation lies in your path, you still gotta pay! To put it simply, he's more organized and stable, I'm more complicated and abstract. "[53] Konietzko said of the reformed band, "Not only is it fun again, but it's devoid of all the personal confrontations due to egos and fractions that were once a part of the band,"[49] but said, "I really miss En Esch," in 2003. [40] Xtort was the first KMFDM album to chart on the Billboard 200 and the highest-charting album in the band's history, reaching No. [66] Over the next few years, Watts' bandmates from Pig joined KMFDM one by one. So the fascination, actually, was to sample a great riff, loop it, and play it over and over again. [92], KMFDM released WTF?! 1, Vol.

[2] The first show consisted of Sturm playing an ARP 2600 synthesizer, Konietzko playing vacuum cleaners and bass guitars with their amplifiers spread throughout the building,[3] and four Polish coal miners (whom Konietzko had met at a bordello)[4] pounding on the foundations of the Grand Palais.[1]. [127] The subsequent albums released in the 1990s were described as some of the band's strongest by AllMusic critic Greg Prato,[2] with their metal guitars, industrial beats, and dance floor sensibilities praised by Ira Robbins and CMJ New Music Monthly critic Heidi MacDonald. [48] Konietzko said the split was due to "lots of stress and pressure, as well as differences in vision and drive". That was something I was not going to do again."[49]. While recognized along with Ministry, Nine Inch Nails, and Skinny Puppy as pioneers in introducing industrial music to mainstream audiences,[14] KMFDM describes its sound as "The Ultra-Heavy Beat". [71] Its companion remix album, Krieg, was released in early 2010.

KMFDM encouraged fans to call a special "FanPhone" and leave a voice message in March 2007.

[133][134], KMFDM has released on average an album every year and a half, and usually tours at least once in support of each album. [48] Esch said "There was a lot of negative energy between Sascha and Günter Schulz and myself and we all decided on the phone to call the band quits. [1] It was recorded from 1983 to 1986, with some of the songs recorded by Konietzko and Watts before Esch was a member of the band,[2] and indeed, before the band officially existed. The angsty stuff generally comes from him. We were KMFDM. [71], Metropolis Records announced in mid-2006 it would reissue KMFDM's entire Wax Trax!-era studio album back catalog, which had been out of print since the early 2000s. Handcuffs and shackles won't frighten us.

[50] The second, Agogo, was a collection of rarities and previously unreleased tracks, including a cover of U2's "Mysterious Ways". '"[75] Tohuvabohu was on Billboard's Dance/Electronic Albums Chart for just three weeks and peaked at No. [90] The group performed KMFDM songs from the Wax Trax! was called "less energetic" and Don't Blow Your Top was called "a little flimsy" in comparison to later albums by AllMusic critics Andy Hinds and Vincent Jeffries, respectively. Silakan. 92[41] and selling more than 200,000 copies. [71] It appeared on the Independent Albums Chart for one week at No. [9] Konietzko, who keeps in contact with fans via e-mail and the band's website,[43] and band representatives have experimented with ways for fans to interact more directly. [119] Samples of news broadcasts and speeches by political leaders are sometimes featured in songs. [14][15], The first major breakthrough in the band's critical reception was 1990's Naïve, called "one of their strongest releases" by Stephen Thomas Erlewine of AllMusic,[124] "brilliant" by fellow AllMusic critic Ned Raggett,[125] "superb" by Hinds,[126] and "the most fun 'industrial dance' album ever" by Spin critic Chuck Eddy. All tours featured KMFDM headlining, except where noted.

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