Tag: Rammstein (Page 2 of 2)

DIE KRUPPS Live In London

Die Krupps-LaLeLu02Whilst the whole Industrial genre of electronic music continues to struggle with its identity and overall sound (the cancellation of the recent Alt-Fest hardly helping the cause), there is always going to be a place for the innovators, those that lead and don’t follow, and such was the case at a packed Garage in Highbury.

Just getting into the venue to see DIE KRUPPS was an event itself.

The early start of the gig meant that following an Emirates cup match against Benfica, waves of Arsenal fans swept down the Highbury Crescent towards the nearest tube. Meanwhile, a motley crew of EBM / Goth and Industrial fans gallantly fought against the red tide the other way towards The Garage, prompting a few stares of disbelief and sideways glances at some of the more exotically attired DIE KRUPPS devotees!

Fortunately black and red didn’t mix in any confrontational manner and both parties wound their way to their destinations happily. DIE KRUPPS are rightly cited as a huge influence on the Industrial / EBM music scene, their 30 year career inspiring the likes of NITZER EBB, FRONT 242, DEPECHE MODE and most significantly the German masters of Industrial Metal, RAMMSTEIN.

The band now comprises of founder members Jürgen Engler on vocals and PROPAGANDA’s Ralf Dörper on synths, alongside guitarist Marcel Zürcher and American drummer Bradley Bills.

Die Krupps-LaLeLu01DIE KRUPPS have adopted LOU REED’s ‘Metal Machine Music’ as a way to describe their sound and this is a pretty adept way of giving identity to their songs, each track centred around big, sequenced analogue basslines, crushing guitars, live / electronic drums and chanted lyrics. The set opened with ‘Ein Blick Zurück Im Zorn’ from current album ‘The Machinists of Joy’ and this pretty much set the tone for the evening with its fast-paced 16 step sequenced bass intro and tough, but melodic / anthemic chorus.

The track that followed, ‘The Dawning Of Doom’, really showcased how indebted RAMMSTEIN are to the band for pioneering the combination of electronics and heavy guitar textures, to the point where Til Lindemann’s group wrote ‘Tier’ as a tribute, incorporating the main riff of this DIE KRUPPS track into it.

Most of the night’s set was divided between the current album and the previous one ‘The Final Option’, but there was an extra treat when five songs in, ex-CLIENT and DUBSTAR’s Sarah Blackwood joined the band for their amped-up version of VISAGE’s ‘The Anvil’ in German, ‘Der Amboss’.

Although The Garage sound crew seemed a little unprepared for the appearance of Miss Blackwood, the band delivered a superb version which the crowd loved, especially as it gave frontman Engler a chance to use his custom-made ‘steel-o-phone’ on the anvil-bashing sections of the track.

Die Krupps-chiHighlights included ‘Robo Sapien’ with its Teutonic string line intro and chanted chorus and ‘Part Of The Machine’ which was driven by a KRAFTWERK-style hi-Q drum pattern and a catchy-as-hell high-register synth hook from Dörper. Following a thirteen song set, the band were brought back out for two encores, the first with ‘Machineries of Joy’ and ‘Crossfire’ before then for one final track ‘Bloodsuckers’, which saw Engler stood atop of his ‘steel-o-phone’ soaking up the adulation of the crowd.

It could be argued that after experiencing a DIE KRUPPS gig, they don’t have that one killer stand-out track, yet conversely this fits in with the whole machine-led / factory production-line aesthetic where songs are rolled out one after the other, and when that particular song-mould is such a strong one, why mess with die formel.

What was refreshing about tonight’s performance was that it avoided all the usual Industrial music clichés, there were no dubious synth / trance riffs or distorted 909 kicks, just a band that had stuck to its guns with a sound that eventually influenced many others to follow.

Ralf Dörper was impeccably cool throughout, whilst his fellow band members put on a crowd-pleasing and energetic show that belied their 30 years in the industry. The turn out at The Garage will have certainly reminded DIE KRUPPS how appreciated they are and if you get a chance to catch this legendary band live, it is certainly worth it if you appreciate a harder-edged electronic sound to your music and want to be Part Of The Machine.


Die Krupps-LaLeLu03Ein Blick Zurück Im Zorn
The Dawning of Doom
Der Amboss (with Sarah Blackwood)
The Machinist of Joy
Part Of The Machine
Robo Sapien
Metal Machine Music
To The Hilt
Nazis Auf Speed

Machineries of Joy


‘The Machinists of Joy’ is released as a CD and download via Synthetic Symphony



Text by Paul Boddy
Photos by Chi Ming Lai and 7und70
12th August 2014

DIE KRUPPS Nazis Auf Speed

Metall Maschinen Musik veterans DIE KRUPPS have just unveiled a controversial new video for ‘Nazis Auf Speed’, a track from their latest album ‘The Machinists Of Joy’.

Formed in 1980, original members Jürgen Engler and PROPAGANDA’s Ralf Dörper plus new recruit Marcel Zürcher have taken back some of what they have given to the Industrial scene over the last three decades with this Teutonic sub-RAMMSTEIN battle of the senses. The lyrics reflect on how The Third Reich aspired to victory at all costs and gave out drugs to their troops including speed in the form of Pervitin.

However, despite its provocative title, DIE KRUPPS point out that they “condemn fascism and drug abuse!” The monochromatic film directed by Philipp Virus depicts the darker, vicious side of Mittel Europa and sees DIE KRUPPS in a heroic and ironic dogfight AGAINST fascism and drug abuse… as if to point out the irony, the trio board Spitfires!

While the stark imagery does play on the usual Second World War clichés, it is powerful stuff while on a purely shallow and aesthetic level, who cannot resist the allure of a beautiful woman in a military uniform, no matter whose side she is on!

Meanwhile, the parent album ‘The Machinists Of Joy’ reached No1 on the Deutsche Alternative Charts on its release in the Autumn. Previous singles ‘Schmutzfabrik’, ‘Risikofaktor’ and ‘Industrie-Mädchen’ showcased a much greater focus on electronic sounds rather than guitars as in DIE KRUPPS previous work, but the essential sweaty body core still prevails in this 21st Century incarnation of the band.

‘The Machinists Of Joy’ is released as a CD, limited edition 2CD and download via Synthetic Symphony

DIE KRUPPS 2014 tour dates include:

Dresden Eventwerk (14th February), Prag Meet Factory (15th February), Budapest Duerer Kert (16th February), Wien Szene (18th February), München Backstage Werk (19th February), Nürnberg Rockfabrik (20th February), Pratteln Z7 (21st February), Oberhausen Turbinehall (22nd February), Hamburg Markthalle (23rd February), Berlin C-Club (25th February) , Frankfurt AM Batschkapp (26th February), Hannover Musikzentrum (27th February), Moskau Plan B (1st March), St Petersburg Zal Ojidanija (2nd March), Amphi Festival (27th July), M’era Luna Festival (10th August)



Text by Chi Ming Lai
29th December 2013

Introducing TITANS

Imagine if RAMMSTEIN were reincarnated as DEPECHE MODE but without the flame throwers?

TITANS’ vocalist Dan Von Hoyel sounds like a lower register Dave Gahan in SOULSAVERS mode crossed with a less Teutonic Till Lindemann and his larynx has a rich body which is unusual for a sub-genre known for its shouting.

Despite ELECTRICITYCLUB.CO.UK’s editorial not being big on industrial or futurepop, love is being belatedly thrown on one particular track ‘It’s Dark’ which first sprung in March of this year with a wonderfully creepy video directed by Fredrik Karlsson and starring Hasse Blomkvist.

Menacing like MECHANICAL CABARET’s excellent ‘Meat Closet’ but with broader textural palettes and accessible melodic counterpoints, it lifts enormously in the chorus showcasing the trio’s ability to play with dynamics.

The parent album ‘For The Long Gone’ is an enjoyable listen and fans of DE/VISION, COVENANT and VNV NATION will like TITANS. The vibrant electronic backing from Fredrik Mattsson and Jimmy Svensson is well produced, energetic without being bombastic and tuneful without being twee.

The foreboding synth atmospheres of ‘All There Is’ are reminiscent CAMOUFLAGE while the Olympian effort of ‘For The Long Gone’ could be ULTRAVOX meeting RAMMSTEIN for an electronic collaboration. ‘Dried Out’ is more EBM and is NITZER EBB without the blaring, trancelike in its hypnotism.

The trick TITANS pull off compared to their contemporaries is perhaps their willingness to be multi-dimensional in their sound. The Swedish trio’s self-confessed doompop is very promising and a pleasant surprise to these ears.

‘For The Long Gone’ is released by Progress Productions

The album can be heard on Spotify: http://open.spotify.com/album/07sHZknDCQFfMv5KqnrN7w


Text by Chi Ming Lai
9th September 2012

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