KMFDM（最初是Kein MehrheitFürDie Mitleid，由乐队松散地翻译为“对大多数人不怜惜”）是由萨沙·科涅茨科（Sascha Konietzko）领导的德国汉堡工业乐队，他于1984年成立了一个表演艺术项目。
乐队最早的化身是德国鼓手恩·埃施（En Esch）和英国歌唱家雷蒙德·沃茨（Raymond Watts），后者在乐队的历史上多次离开并重新加入乐队。在Konietzko和Esch移居美国之前，三人乐队在德国录制了乐队最早的专辑，在那里他们以开创性的工业唱片品牌Wax Trax获得了更大的成功！。德国吉他手GünterSchulz于1990年加入。他和Esch继续加入乐队，直到1999年KMFDM破裂为止。Konietzko于2002年在Metropolis Records上复活了KMFDM（Esch和Schulz拒绝加入），到2005年，他组成了一个稳定的阵容，其中包括美国歌手Lucia Cifarelli，英国吉他手Jules Hodgson和Steve White以及英国鼓手Andy Selway。Konietzko和Cifarelli于2007年移居德国，而乐队的其余成员则留在美国。霍奇森和White于2015年至2017年间继续从事其他事业，从而使乐队成为非正式的三人组合。除了这些核心成员之外，还有数十位其他音乐家与该乐队合作，发行了20张录音室专辑和2打单曲，在全球范围内的销售总额超过200万张唱片。
批评家认为KMFDM是将工业音乐带入主流受众的首批乐队之一，尽管Konietzko将其音乐称为“超重节奏”。乐队在音乐中融合了重金属吉他的即兴演奏，电子音乐，样本以及男声和女声，涵盖了包括工业摇滚和电子人体音乐在内的多种风格。乐队激烈的政治活动，其许多歌词代表了暴力，战争和压迫。通常，KMFDM在每个主要发行版本后都会巡回演出至少一次，乐队成员以在线和音乐会上与歌迷的互动以及与歌迷的互动而闻名。成员（单独或与其他音乐家一起工作或与其他音乐家一起工作）以许多其他名称录制，主要是瓦茨的Pig，Konietzko的Excessive Force以及Esch和Schulz的Slick Idiot。
KMFDM最早输出是表演艺术，如Konietzko并入不仅视觉效果如燃烧床和爆炸电视机，但用作仪器也非音乐设备，例如真空吸尘器。 1980年代的专辑大量使用采样和录音室操作，并且使用的主要乐器是合成器和鼓机。Konietzko引用了T. Rex，David Bowie和Frank Zappa作为KMFDM早期阶段的灵感。在组建乐队之前，他听了朋克音乐和“真正的工业”乐队，例如Throbbing Gristle。
自成立以来，乐队就大量使用吉他，并在乐队成立之初就率先使用了吉他。尽管科尼兹科虽然不是金属迷，但他说“痴迷于撕裂金属舔片”源于他在1986年底对E-mu的Emax 采样器进行的实验，并补充说：“我最讨厌的重金属是最好的即兴演奏只有一次，而且从未重复过。因此，这种迷恋实际上是采样一个伟大的即兴演奏，将其循环播放，然后反复播放。” 由于制片人舍伍德（Sherwood）的影响，专辑《不要吹牛》的内容更加稀疏，这是例外而不是规则。工信部创始人兼前奏家Al Jourgensen在1989年与该乐队一起巡回演出时，将KMFDM描述为“一支在欧洲行进的吉他营”。
许多专辑都带有一首或多首歌曲，其中乐队lamp讽本身，尤其是在“ Sucks” 和“ Inane”的歌词中。乐队的“愤世嫉俗的超脱”已与斯蒂利·丹（Steely Dan）进行了比较。歌词经常表达政治关注，并呼吁拒绝和抵抗恐怖主义，暴力，压迫，审查制度和战争。在1995年的歌曲《恐怖》中，科涅茨科特别警告说，“原教旨主义势力正在破坏自由主义和民主政治结构的完整性”。歌曲中有时会收录政治领袖的新闻广播和讲话样本。Konietzko表示，虽然2003年专辑WWIII对当时的总统乔治·W·布什（George W. Bush）提出了批评，布什为这张专辑进行了广泛采样，“这本身并不是反布什的唱片，但这是一种反愚蠢的行为。记录”和“如果我们有消息，那就是：自己思考，不要相信废话。”
截至2007年7月，KMFDM已在全球售出约200万张唱片。批评家对KMFDM普遍持积极态度，尽管对乐队的早期工作不那么热心。您知道什么，德国？与AllMusic评论家安迪·辛德斯（Andy Hinds）和文森特·杰弗里斯（Vincent Jeffries）后来发行的专辑相比，“被称为精力不足”和“不要吹牛”被称为“有点脆弱”。当乐队的声音开始发展时，UAIOE被Hinds称为“更加放心”，而汤普森则被称为“ KMFDM真正动机的更多代表”，他补充说，KMFDM的吉他沉重声音激发了音乐厅自己对音乐的拥护。乐队在1990年一起巡回演出之后
在乐队的重要招待会的第一次重大突破，是1990年的朴素，被称为是“最强烈的专辑之一”斯蒂芬·托马斯·利万的所有音乐， “辉煌”的同胞所有音乐评论家内德·拉格特， “精湛”的海因兹，以及Spin评论家查克·埃迪（Chuck Eddy）的“有史以来最有趣的’工业舞蹈’专辑” 。随后在1990年代发行的专辑被AllMusic评论家格雷格·普拉托（Greg Prato）描述为乐队最强唱片，的金属吉他，工业节拍，评论家海蒂·麦克唐纳（Heidi MacDonald）。波士顿环球报的迈克尔·桑德斯（Michael Saunders）谈到这支乐队：“这是一个很小的领域，但KMFDM是其中的佼佼者：制造密集，可跳舞，后工业界的噪音的制造商。德国乐队专门制造听觉攻击可能会吓到新手。” 麦克唐纳（MacDonald）在1996年说：“随着工信部不再是核心人物，皮纳比小狗（Skinny Puppy）不在了，而九英寸钉子（Nine Inch Nails）是一个品牌，KMFDM现在是工业界的标准承担者”，尽管埃勒温和辛德斯觉得乐队正在失去一些在本世纪末期蒸蒸日上。
格雷格·雷德（Greg Rule）在临时解散后于1999年宣布，KMFDM已“制作了9份高影响力唱片，为他们赢得了遍布该星球的庞大，忠实的支持者”。 Erlewine将该乐队称为“蜡蜡特拉克斯（Wax Trax）的第一批工业巨星之一”，“地下风云人物”和“ 90年代主要工业乐队之一”。乐队在21世纪发行的大多数专辑都广受好评，尽管普拉托（Prato）曾评论过一张专辑与另一张专辑的相同性。最近的专辑Blitz and WTF ?! Sputnikmusic的Trey Spencer已将其描述为以电子方式移动，而不是以吉他为中心以及AllMusic的David Jeffries。
KMFDM (originally Kein Mehrheit Für Die Mitleid, loosely translated by the band as “no pity for the majority”) is a German industrial band from Hamburg led by Sascha Konietzko, who founded the band in 1984 as a performance art project.
The band’s earliest incarnation included German drummer En Esch and British vocalist Raymond Watts, the latter of whom left and rejoined the group several times over its history. The trio recorded the band’s earliest albums in Germany before Konietzko and Esch moved to the United States, where they found much greater success with seminal industrial record label Wax Trax!. German guitarist Günter Schulz joined in 1990; both he and Esch continued with the band until KMFDM broke up in 1999. 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. Konietzko and Cifarelli moved back to Germany in 2007, while the rest of the band stayed in the U.S. Hodgson and White moved on to other pursuits between 2015 and 2017, leaving the band a working trio unofficially. In addition to these core members, dozens of other musicians have worked with the group across its twenty studio albums and two dozen singles, with sales totaling in excess of two million records worldwide.
Critics consider KMFDM to be one of the first bands to bring industrial music to mainstream audiences, though Konietzko refers to the band’s music as “The Ultra-Heavy Beat”. The band incorporates heavy metal guitar riffs, electronic music, samples, and both male and female vocals in its music, which encompasses a variety of styles including industrial rock and electronic body music. The band is fiercely political, with many of its lyrics taking stands against violence, war, and oppression. KMFDM normally tours at least once after every major release, and band members are known for their accessibility to and interaction with fans, both online and at concerts. Members, singly or working together and with other musicians, have recorded under many other names, primarily Watts’ Pig, Konietzko’s Excessive Force, and Esch and Schulz’s Slick Idiot.
Musical style, influences, and lyrical content
KMFDM’s earliest output was performance art, as Konietzko incorporated not only visuals such as burning beds and exploding televisions, but also non-musical devices used as instruments, e.g. vacuum cleaners. The 1980s albums featured heavy use of sampling and studio manipulations, and the primary instruments used were synthesizers and drum machines. Konietzko has cited T. Rex, David Bowie, and Frank Zappa as inspiration in the early stages of KMFDM. Before forming the band, he listened to punk music and “true industrial” bands such as Throbbing Gristle.
The band’s music has been described as industrial, industrial rock, electro-industrial, industrial metal, and techno-industrial. While recognized along with Ministry, Nine Inch Nails, and Skinny Puppy as pioneers in introducing industrial music to mainstream audiences, KMFDM describes its sound as “The Ultra-Heavy Beat”. Konietzko once stated, “If I was to give myself a label it would be industrial-alternative-electronic-crossover-rock and danceabilly.”
The band has made heavy use of guitars since its inception, and pioneered their use during the band’s early days in Germany. Although not a metal fan, Konietzko said his “infatuation with ripping off metal licks” stemmed from his experiments with E-mu’s Emax sampler in late 1986, adding, “What I always hated most about heavy metal was that the best riffs came only once and were never repeated. So the fascination, actually, was to sample a great riff, loop it, and play it over and over again.” While the album Don’t Blow Your Top was more sparse in content, due to the influence of producer Sherwood, it was the exception rather than the rule. Ministry founder and frontman Al Jourgensen, on tour with the band in 1989, described KMFDM as “a battalion of guitars marching through Europe.”
KMFDM’s music has since been a fusion of electronic and heavy metal, with occasional elements of dub, as well as orchestral samples and live horns. Many songs feature prominent backing vocals by female singers such as Dorona Alberti, Travis, and Cifarelli. Many of the musicians who have played in the band are multi-instrumentalists, so there is a degree of versatility and freedom in the music.
Many albums feature one or more songs in which the band lampoons itself, notably in the lyrics to “Sucks” and “Inane”. The band’s “cynical detachment” has been compared to Steely Dan. Lyrics often express political concerns and call for the rejection of and resistance to terrorism, violence, oppression, censorship, and war. In the 1995 song “Terror”, Konietzko specifically warns, “Fundamentalist forces are undermining the integrity of liberal and democratic political structures”. Samples of news broadcasts and speeches by political leaders are sometimes featured in songs. Konietzko has said that while the 2003 album WWIII is critical of then-president George W. Bush, who was sampled extensively for the album, “It’s not an anti-Bush record per se, it’s an anti-stupidity record”, and, “If we had a message, it would be: Think for Yourself and Don’t Believe the Bullshit.”
As of July 2007, KMFDM had sold approximately two million records worldwide. Critics have been widely positive of KMFDM, though less enthusiastic about the band’s earliest work. What Do You Know, Deutschland? 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. UAIOE, when the band’s sound began to develop, was called “more assured” by Hinds and “more representative of KMFDM’s true motives” by Thompson, who added that KMFDM’s guitar-heavy sound inspired Ministry’s own embrace of the instrument after the bands toured together in 1990.
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, “brilliant” by fellow AllMusic critic Ned Raggett, “superb” by Hinds, and “the most fun ‘industrial dance’ album ever” by Spin critic Chuck Eddy. The subsequent albums released in the 1990s were described as some of the band’s strongest by AllMusic critic Greg Prato, with their metal guitars, industrial beats, and dance floor sensibilities praised by Ira Robbins and CMJ New Music Monthly critic Heidi MacDonald. Michael Saunders of the Boston Globe said of the band: “It’s a small field, but KMFDM is tops in it: makers of dense, danceable, post-industrial torrents of noise. The German band specializes in fabricating aural assaults that can be intimidating to the uninitiated.” MacDonald said in 1996, “With Ministry gone grindcore, Skinny Puppy just gone, and Nine Inch Nails a brand name, KMFDM is now the standard bearer of industrial”, though Erlewine and Hinds felt the band was losing some steam towards the end of the decade.
Greg Rule declared in 1999, after its temporary disbandment, that KMFDM had “produced nine high-impact records that have earned them a large, loyal fanbase strewn across the planet.” 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.” Most of the band’s albums released in the 21st century have been well-received, although Prato has commented on the sameness from one album to the next. Recent albums Blitz and WTF?! have been described as moving in an electronic, less guitar-focused direction by Trey Spencer of Sputnikmusic and AllMusic’s David Jeffries.
1984 – Opium [.APE]
1986 – WDYKD
1986 – What Do You Know, Deutschland
1988 – Don’t Blow Your Top
1989 – UAIOE
1990 – Naive
1992 – Money
1993 – Angst
1995 – Nihil
1996 – Xtort
1997 – Symbols
1998 – Agogo [.APE]
1998 – Retro
1999 – Adios
2002 – Attak [.APE]
2003 – WWIII
2005 – Hau Ruck
2007 – Tohuvabohu
2008 – Brimborium
2008 – Extra Volumes 1-3 (6CD) [.APE]
2009 – Blitz
2010 – Greatest Shit (2CD)
2011 – WTF!
2013 – KUNST
2014 – Our Time WIll Come
2014 – We Are KMFDM
2016 – Rocks (Milestones Reloaded) [24bit Hi-Res]
2017 – Hell Yeah (24bit Hi-Res)
2017 – Hell Yeah
2018 – Live in the USSA [24bit Hi-Res]
2019 – PARADISE
2020 – IN DUB