KMFDM

bad intro attempt by Christine Natanael

interview by Steve Walker

LINKS:
kmfdm.net

Their newest disc, World War 3, released through Sanctuary, is making a glorious bit of noise in those circles that have a penchant for noise. Our resident industrial/art guy, Steve Walker got on the phone with Sascha Konietzko recently to find out what’s been going on in their camp since the Sturm and Drang tour ended. Here’s the result:

Steve Walker: How are the rehearsals for the tour going?

Sascha Konietzko: Pretty well. Right now we are just getting some of the kinks out. We are going to be cris-crossing the United States doing 36 dates in 40 days. We’ll be starting in Seattle and ending in Seattle.

SW: So how did the recording process for the new album go?

SK: The recording for World War 3 was actually a different experience for us than any previous recording. We didn’t have any songs written, just the album title and bits and pieces of sounds. We didn’t even have a record deal when we started recording. We just went in and started to write.

SW: Speaking of no record deal why the change from Metropolis to Sanctuary?

SK: Metropolis was in a state of financial difficulty and didn’t know if they were going to be able to pick up our option, and in fact they couldn’t pick up our option after ATTAK. In spite of this we started recording regardless, without a record deal and shopped around. We went with Sanctuary because they have a wider distribution base, in fact worldwide, which is something we were looking for, especially since we have not been overseas to Europe in about 13 years, which is kind of sad especially when five members of the band are from Europe.

SW: Well I have to say you guys have crafted an amazing album. You seem to be ripping into a lot of different people on this record. The sarcasm and cynicism really comes across very clearly. Any opinions on the state of America and the monoculture in general?

SK: It’s not just our usual ridicule, sarcasm, and cynicism. On previous albums we’ve talked about what was going on in Bosnia, but the response to it was mild. I think now the American population is a bit more receptive to what is going on. There is politics, policies, and government touched on this album, and like I said now that it has been brought to the home front, Americans are more aware of what is going on both socially and politically.

SW: It seems like on the album you guys are saying, “look what is going on around you, open your eyes, listen to what we have to say, but don’t follow what we have to say blindly”

SK: Exactly. We are not preaching. We are just venting our frustrations, and that is what we’ve been doing for years. Like the song Intro says, nothing new/ it’s just the same old shit. This album isn’t like a lot of industrial music where you hear introspective lyrics over and over. Why should I sit around and write introspective lyrics? To me that is just pointless.

SW: I was really surprised to hear you using instruments on this album that you wouldn’t normally hear on an industrial album, like do-bro guitars and a harmonica and banjos.

SK: We’ve always had a propensity to use instruments that you wouldn’t normally associate with this genre of music. It all comes down to virtuosity. None of us play the harmonica so it makes sense to bring in a harmonica player. Obviously though, we won’t bring a harmonica player on tour with us for one song, so when we play "Bullets, Bombs Bigotry" live, we will have to figure out a way to recreate that. Maybe we’ll substitute it with a kazoo solo (laughs).

SW: Okay now the big question. What’s your opinion on the state of industrial music at the moment?

SK: Right now, to be honest, I don’t listen to industrial music. I consider it kind of pointless to listen to the same kind of music we make. For instance right now I’m listening to the Gun Club and The Cramps. More dirty sloppy stuff.

SW: Stuff that is closer to Rockabilly.

SK: Exactly.

SW: So what do you do with your free time when you aren’t making music?

SK: For me there aren’t enough hours in the day. I enjoy making music, reading, writing, and cooking.

SW: I know exactly what you mean. If I’m not drawing or writing, I’m buried in a book. Just finished re-reading Albert Camus’ The Stranger, and Douglas Adam’s The Hitchhiker’s Guide to The Galaxy.

SK: Camus is great. I just read the one about his childhood, what was the name of it?

SW: I know it. Can’t remember it at the moment. Reading anything of interest at the moment?
(Note: for clarification, it is called The First Man.)

SK: I’ve just started reading James Fennimore Cooper. Actually it’s been a rediscovery of sorts. My grandmother had read me his stuff as a child, and when I started reading it again, I remembered the stories. I really think he was the first great American writer.

SW: Going back for a minute, you mentioned cooking. Any favorite recipes that you have?

SK: When I cook, I try to follow the directions and it usually comes out close but not exact. It’s always a surprise. Now Lucia can cook. She makes great meatballs and sausage and peppers. Who knows? We might eventually release a KMFDM cookbook (laughs).

SW: I see that Brute is back doing the album art for you guys.

SK: He fits. We’ve had him for every album except NIHIL.

SW: Who are your favorite artists?

SK: Wow. There are so many. If I had to pick any, it would be the Bauhaus and Dada period. I enjoy that frenetic type of insanity and the flowing architecture of those periods.

SW: Do you enjoy the interview process?

SK: Actually, I enjoy the interview process quite a bit. I enjoy talking about what goes into the music and what makes it work. I like being able to go into detail about the entire process.

SW: Well Sascha, I’ve got to thank you for taking the time to speak with me. It has been an extreme pleasure.

SK: Same here.