Remember that “Du Hast” song by German metal/techno acts “Rammstein?” Well, when I first heard that song I said “Those guys have obviously been listening to 'KMFDM'.” Also hailing from the Deutschland, "KMFDM" have been churning out their brand of industrial metal dub mentality since 1984. "KMFDM" is an acronym for KEIN MEHRHEIT FÜR DIE MITLEID (which loosely translated means NO PITY FOR THE MAJORITY). "KMFDM" have always experimented with their approach of metal riffed guitars woven into mechanical electric beats, with dark, distorted gravel vocals and harmonizing female toned choruses, usually ending up with a heavy, but almost danceable, piece of industrial mayhem.

Wax Trax has released two “best of” type disks that touch upon various stages of "KMFDM’s" extensive library. “Retro” is essentially a greatest hits album. Although "KMFDM" have never really “hit” in the states, they are HUGE in their homeland of Germany, and other parts of Europe, where this brand of music is more appreciated. "Retro" pulls from 8 of their previous efforts (small thumbnail pictures of each of the covers appears on the CD cover). The other release, “A Go Go,” is more of a “rarities and b-sides” compilation.

"Retro": Highlighting various steps along the path that has created "KMFDM," this release is highly recommended if you're a fan of any electronic hybrid. The songs are structured in a more “traditional” sense, in that they have definable movements, verses and choruses, and avoid the repetitive looping so much of the electronic genre over-uses. Instruments of choice are metal toned aggressive repeating guitar riffs, big electronic kicks and toms, various keyboard textures, and vocals consisting primarily of a hoarse growly male who can put together such cool rhymes as “Stronger than ever, ever before - KMFDM is a drug against war!” with a female vocalist that chimes in mostly in the sing-a-long choruses.

Sometimes the music pummels over you with layers of guitars, drums, keys and electronic noise aplenty. Other times, "KMFDM" strip it down and isolate one beat and throw some subtle backing textures (usually with keys) and bark/rap out simple 4/4 timed rhymes. Masters of the tricky bridge, "KMFDM" showcase their ability to spice up tired song movements simply by the addition or deletion of tracks, ending up in builds and breaks that are essentially the same rhythm they came out of, but now sound like a bridge to the next verse with the manipulation of recorded tracks. The fun tracks are the manic stutter riffed numbers that plow along at 120 miles per hour, like “Drug Against War,”which saw some limited airplay on MTV’s “120 Minutes” a few years back, and “Light,” both from the LP “Light.” It’s a good thing that "KMFDM" have a talent for incorporating different aspects into different songs, because the approach does get cookie-cutter after awhile, especially the tones of the guitars, drums and vocals. There is an undeniable tension and dis-satisfaction with the “system” vibe coursing through this disc.

Upon repeated listens, "KMFDM" like to spice up their music with a variety of sounds - beeps, rings, whoops, crashes...whatever they can find, although they're used in such subtle textures they dont stick out. Tempos generally stay the same throughout each song, almost as if the drums were a click track upon which all the rest of the songs were layered, which is most likely close to an accurate account of "KMFDM's" percussion. This can generate a lack of interest on some of the more plodding numbers, only being saved by the clever use of different layers of instruments that separate the songs movements. Some of the tunes are off the same album (credits for each song are listed) and one can distinctly hear the style in which "KMFDM" approached each album. For example, the stringy guitar riffs that dominate the tracks off Angst, and the dreamy keys of selections from Money. Its subtle, but audible. The track Godlike-Doglike shows 'KMFDM" using a childs voice in an echoing repeated loop that adds this light airy feel over the echoing tom and biting guitar riffage, and the pleasant womans backing voice shows up on the choruses of "Youll Be God-Like.

Throughout the "KFMDM" history, themes revolve around money, government, influence and power. The slower, sparser What Do You Know Deutschland? from the album of the same title, shows a more introspective "KMFDM," with political styled vocal speech samples running over a more simplified and stripped sound. Liebeslied-Liebeslied, from the "Naive/Hell To Go" album, hits with the same Germanic Nazi march sound that the aforementioned Rammstein have been cashing in on here in the states (complete with German lyrics).

Overview: A collection of palatable "KMFDM" offerings that span 8 albums worth of the group's library. Theres not a lot of growth in sound/style over the time-frame represented here, but the their talent to incorporate subtle elements and directions to keep the music interesting, while maintaining the essence that is "KMFDM," is showcased well.

"A Go Go": Any band that specializes in the electronic genre always feels the need to do remixes as b-sides and special release EPs. "KMFDM" are no exception, and A Go Go offers up some reworked versions of songs that appear on the Retro disk, as well as their original pressings. Touted as a rarities and b-sides release, songs are a bit more experimental in scope, but considering the source, these offerings are not that radically different from the normal "KMFDM" approach.

The disk opens with 45 seconds of high pitched electronic wails, fuzzed out vocal preaching, and a backwards sounding accordion effect, before jumping into a remix of God-Like. This version features stoked-up electronic toms that are hyped-up on the rolls. As remixes tend to be, its darker, and a backing female voice on the lines of Youll be God-like is omitted, so its just the singers scraping yowls that can be heard.

As far as I can tell there are three remixes of songs found on the Retro album - God-Like, Virus Dub and Rip The System. Remixes, to me, tend to be kind of selfish in scope for the fan. They are valid in their own context, but when you consider the normal "KMFDM" approach to writing a song, the remixes are just slightly different variations on a theme. So, if you like the original, the remix wont offer a lot more out of the same song. The almost 80s house-tinged Naff Off comes off like what New Order wished they couldve been. The nugget for the fan and collector here is the reworked version of U2's Mysterious Ways, and starts off with that recognizable Beyooom Bomp Bomp that "KMFDM" samples from the real song's intro. The sassy Ooh La La shows a more dreamy side, with a whine of lead guitars that show a rare warmth compared to the usual gritty distortion.

The coolest song is the remake of one of "KMFDMs" more widely known tracks. Hole In The Wall. Check these lyrics: When I have to die then I want to strangle myself in your black hair / When I have to die then I want to suffocate between your sweet breasts / When I have to die then I want to be blinded by your brown eyes / When I have to die then I want to cut my veins on your lips - all sung with the singer Saschas gritty delivery. The other cool thing about this track was the use of real instruments in addition to the electronic elements for this rework. Originally, Sascha had objected, because he thought it gave the track a cheesy heavy-metal feel, but has admitted he likes the track for what it is. Hes right, it does have a more metal feel than the more sterile sound of normal "KMFDM" offerings, but who ever said metal was bad, especially for how heavy "KMFDM" can get on their own. The intensity is definitely shared by both genres.

The title track, A Go Go, has a suave disco-porn-funk-groove that it rides without vocals. Put this on for your next rave party and watch the kids bump. The final track, Zip, is sparse, weak and repetitive (especially the lyrics) and relies more on production tricks than musical composition, but one out of ten isnt bad. A nice addition is the quick explanation of each song that follows each track listing in the CD jacket. It adds some additional insight into the band and the song itself.

Summary: These are two excellent releases that show the range in which "KMFDM" can work within the electronic genre. They have enough pop sensibility to make the songs tangible, with easily swallowed verses and choruses, but utilize the sound and tempo dynamics available through the electronic medium to its fullest. "KMFDM" walk the line between heavy industrial and danceable electronic groove, throwing in edgy metal guitars on top of an array of keyboards laced with hoarse Germanic-accented vocals that are sometimes dusted with some female harmonies. Both the fan and the newcomer should find satisfaction in either of these releases. Buy them both and youve got a really comprehensive musical history of all that is "KMFDM."