Looking Back on… KGC – Dirty Bomb.

KGC – <i>Dirty Bomb</i> Review (As mentioned, we’re looking back at my review of the, so far only, KGC record produced, Dirty Bomb, for a bit of perspective as to why I feel Dean Garcia and KMFDM have kind of fallen on hard times creatively.)

Website: <a href= http://www.myspace.com/kgcmusic/ target=new>KGC on Myspace</a> (Hahaha oh God Myspace.)

For fans of older techno/dance/industrial music, KGC sounds as if it would be a dream come true. The technical brains behind KMFDM, Sascha Konietzko, teams up with one half of Curve, Dean Garcia, and Lucia Cifarelli, frontwoman of Drill and immensely talented vocalist, to create KGC. (Technically Lucia was more associated with KMFDM at that point, but her work in Drill was also pretty great.) I mean, how can you not love that if you know what it means? The possibilities are endless: best case scenario, these three musicians could team up and create some incredibly innovative and interesting music; worst case scenario, the effort would sound like KMFDM mixed with Curve, and how could THAT be bad? (I really cannot understate how amazing this idea sounds; mix Sascha’s programming skills, Dean’s effective guitar work and composition, and Lucia’s vocals and this should absolutely be fucking amazing.)

In reality, KGC sounds like KMFDM. (The slow parts, specifically.)

Now, even this wouldn’t be so bad, but in specific, the majority sounds like the tracks one skips to get to the other, more interesting tracks. They aren’t bad so much as they are uninteresting. Few tracks stand out in any notable way, and even those that really do anything interesting, like “Best of Everything” (Which sounds like a KMFDM track, except with Lucia kind of alternating between singing and preaching; that is, doing that vocal thing Sascha and Till Lindemann do because their singing isn’t great but they have powerful army-style voices.) and “Misery”, (Which is the closest thing to a Curve track you’re going to hear here, though in a surprising flaw, the pad effects in the lead-in to the chorus actively interfere with the vocals, which is… unfortunate.) are generally only interesting because of Lucia’s vocal work. Sascha and Dean are incredibly talented musicians, and no one can take that away from them, but here their work comes off lifeless and flat. (I still don’t understand how two of the more visionary musical composers in industrial history can get together and make a record that sounds like the least interesting KMFDM record ever.)

Indeed, the entire effort comes off flat and uninspired. There are no truly standout tracks in the entire effort. The music is competent, structured, and generally sounds okay, but it’s very dull and lifeless. (I honestly feel like a lot of this is just Sascha being Sascha. Compare early KMFDM work and the MDFMK project, where other musicians like Tim Skold, Raymond Watts, En Esch and Ogre had a say in their work, and current releases, where everything sounds like everything else and the German band members, AKA Lucia and Sascha, hold most of the sway, and it’s more apparent. For a perfect example, compare Skold’s vibrant work on the last few pre-Crisis KMFDM records and the MDFMK record, which produced the nigh-godly track Anarchy, to his current work with Skold vs. KMFDM, which is also-ran and pedestrian. You can’t even blame that one on Skold because he released a record in 2011, Anomie, which, while not great, had a couple of standout tracks that show he still has something in the tank. Sascha, meanwhile, has been running on empty for years.) Compare any song on <i>Dirty Bomb</i> to any song made by these three musicians in the past decade and it becomes apparent that, honestly, it doesn’t seem like much effort was put forth here. It’s just… there. It exists, but does nothing else. (Which has become something of a trend amongst all three ever since.)

Ultimately, <i>Dirty Bomb</i> is less of a bad effort and more of a disappointment. All three of the musicians involved, in their respective groups, have produced far superior work than what’s on display here, and that’s a shame. The songs are okay, and none of them are bad or hurtful, but none of them are terribly interesting, either. <i>Dirty Bomb</i> might be worth it if you’re a hardcore fan, but otherwise, it’s not really worth the investment. (This seems to be a running trend, sadly; anyone who bought into Audioslave or Velvet Revolver expecting those bands to be equivalent to the sum of their component parts can attest to that. This is a less famous example, but no less apparent of one, sadly.)

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