Customer Reviews

Hau Ruck

5 star:		(41)
4 star:		(17)
3 star:		(6)
2 star:		(4)
1 star:		(3)

 

 

"Hau Ruck" is one of the few albums I had been eagerly anticipating all summer long. Despite being a bit disappointed in the band's last studio effort "WWIII" (it's good but it is no "Nihil"), I was still excited to hear new KMFDM. This time KMFDM delivered with "Hau Ruck". The aggressive track "Free Your Hate" kicks off the cd with its myriad of samples and ferocious synthesized beats. The industrial beats hammers into the listener's ears as if it was a jackhammer. Just a great song to blast your stereo to. I love this song. It reminds me why I fell in love with industrial music, especially KMFDM's music to begin with. The title track "Hau Ruck" is another personal favorite track off the album for me with its throbbing industrial beats. I especially dug the crushing sounds of the chorus with Sascha empathazies the song title. Of course Lucia sounds as wonderful as ever. I especially dug her on "Professional Killer" which sounded like it could have been on her solo album "From the Land of the Volcanoes". It had a nice pop sheen to the song yet it retained that trademark KMFDM sound with its minimalist industrial beats. While "Hau Ruck" may not be near the classic status of "Nihil" or "Angst", the album is one of the band's better albums in recent years.

A truly sublime album from KMFDM.
Everything on this forged bit of a**kickery is godlike.
When you thought they simply couldn't top it off one more time, BANG.
Fooled us once again.
Forget NIHIL, forget everything some people here mentioned about this , that or the other.
KMFDM are truly the (sole) masters of the Ultra-Heavy-Beats.
If this is the only record to accompany me on the (proverbially)deserted island, I'd die a happy woman.

Buy it now, immediately (if not sooner) as Rusty put it.

First up- just because I saw it in a few other reviews online- nothing about Hau Ruck is pop, and longtime fans should have nothing to worry in regards to that. Figuring out why these tracks have been labeled with "pop" at all is a mystery to me- but we'll cover that in a second.

For the rest of us, Hau Ruck starts out with an English track proudly proclaiming "the beatings will continue, until morale improves" in "Free Your Hate". The tone of the album is quickly set as you hear sounds delving a little into the experimental and near-techno, offset by a strong offering of Lucia's kickass metal growl, in addition to all the usual KMFDM staples. The title track, "Hau Ruck", follows up with a wide array of treats. German lyrics, an incredibly hooking chorus, and just a hint of classic militaristic sounds, all lead up the proud declaration of "Hau Ruck" (Heave-Ho!). Sascha, as if it needs to be said, is still ever-present and delivers most of the main kicks.

From there, the album delivers on all of KMFDM's classic notes. Songs like "New American Century" and "Professional Killer" follow up on the usual political notes. It's interesting to note that more than one person has associated "...Killer" with pop sound- a good portion of the song is a hard beat delivered behind a real-life narration of a man being put to death via electric chair. If narrating a state killing and calling the executioners professional killers is pop- then yes, I'd say things have gone pop here. I seriously doubt this is the case, however. Perhaps more people are really referring to Lucia's lusty interludes as she takes away the growl and leaves the sultry remnants, but her softness is just a counterbalance for the everpresent beat. Girls can rock too, and Lucia delivers.

"Mini, Mini, Mini" is a nice turn as KMFDM delves into a French cover, and it's one of the album's top tracks. "Feed Our Fame" journeys into a sound that seems to be the band's take on American older-school rock with heavy double-bass drumming, and it still kicks on all cylinders all the way through. The final track, "Auf Wiederseh'n" includes bongo-esque percussion, trumpet anthems, metal guitar, and a brief scream used for intense effect. Some say that all this mashing of musical tastes is a bit off-putting, but KMFDM has always played with sound in generating its industrial vibe, and this track alone is proof that they haven't let up. If anything, the mash has included more influences, and is all the better for it. Personally, "Auf Wiederseh'n" is a perfect, celebratory end to a great album.

To dip into the cliche, "Hau Ruck" is a tour de force. Lucia makes a splash with her screaming rage in "Feed Your Hate" and through her lusty vibes in "Professional Killer". Tracks like "Mini, Mini, Mini" and "Feed Our Fame" break new ground. And of course, you've got "Free Your Hate" and "Hau Ruck" with hardcore KMFDM sound. It might not be "Nihil", but for me at least, nothing ever could be. "Hau Ruck" rocks.

I never thought I would be the one to disagree in a discussion about this group, but with such a large catalog I guess it's time to get picky.

I do not like it when the guitar chug gets that cheesy tone to it where it's easily confused with the keyboards, because it reminds me of the now outdated sound of their early years. There is a problem with all this revolving door stuff happening with this collective of musicians. The thing is that each person who ever worked with them has had their shining moment, and it's easy to focus on them being or not being on the album when we should really focus on the nature of their contribution. For example: the male vocals on this album are among the best that KMFDM has to offer, however--Tim Skold did more than just contribute sub-par vocals in his past participation. He contributed powerful and relentless drum/synth programming, which was stolen and molested by Manson to create the Golden Age of Grotesque (which was an album with even more vocal/content problems than Skold's previous work). Another example: I get so confused trying to follow all these female vocalists stepping in and out of the KMFDM studios. One of them, however, really stands out and i'm at a loss to tell you which one. I do not like the female voice that sounds like one of the singers from Pigface (IE: track 5), because her whole feel is so different that: a.) She stuck out too much on Adios, and b.) She needs her own project that she dominates so that maybe we can understand and not be distracted by her participation altogether.

It feels crazy to place WWIII, Attak, & Hau Ruck side by side because for me they feel like three totally different bands trying to ressurect the exact same sound. At this point I am totally confused about what this collective aspires to accomplish. The lyrics on this CD are outstanding and entirely beleivable and well timed, but it suffers from the same disease as the last two, and now it's even worse: the first track is a tease because it hits like a 10-ton hammer and then the album just doesn't follow through on that. The irony is that ultimatly this is one of their most consistent albums, but this time that is a downfall. It's caught between stagnating and going in too many directions. Both things are happening and both things are making me yawn all the way to the end.

I agree that Raymond Watts being MIA is not helping things at all eaither, even though i'm at a loss to pinpoint why he helps things.

My favorite KMFDM albums are the symbols album, Adios, and the obvious: Angst! On the symbols album, singers are changing out so quickly and the lyrics exhibit the most functional anthemic quality ever seen in this team, but it's the power in the beats that drives you to chant along to sick slogans like "Spit Sperm". On Adios the same eclectic vocal personality is exhibited, despite the wide range being a bit risky at times--the intense synth focus really helps greatly. On Angst they proved that the guitars can and do make sense, and should never be removed, but when Skold broke away to do MDFMK, I think he sure did raise the bar on what the guitar could be doing. Now, here we are with this awkwardly presented guitar, excellent male vocals, lackluster beat intensity and seemingly their best female vocalist (the one from MDFMK--I think), right beside their (possibly second) worst.

I love this band, but now when I listen to them I get more confusion from who is responsible for the strengths/weaknesses instead of getting stimulation from the overload of it all.

Unfortunatly I will probably never see them live, and I can only assume that all three of the last albums come alive on stage. Skold's work with Manson did not work for me on CD, but seeing the concert made me realize how the material was now being written to scatter among his live show standards. In a similar spirit, I would prefer that KMFDM recall this album and the last two, then rerelease the best songs from the three as one album.

I borrowed this CD from a friend and before I heard it I had my hand on my wallet ready to buy, but after I heard it I relaxed my grip and decided to wait until I see a used copy (dream on, right?).

My wife adored the symbols album so much that at that time they were among her favorites, but Adios confused her with enjoyable and puzzling songs grouped together and MDFMK disenchanted her altogether. At this point she does not understand why I continue to follow this band, and I'm starting to wonder myself.

I'm sick of all the reviews I'm reading telling people to pick up the older albums that have been out of print for so long...

Being a fan of the band for well over a decade, and just finishing off a complete collection of all their tape and cd's, I must say that Hau Ruck was in no way disappointing. Great guitars and that lovely Ultra Heavy Beat give you that heave ho' the Kapt'n wanted to deliver.

I feel that since this album has come together so well without all the original members (and Watts... who is missed) that KMFDM once again prove they're the best.

Any review that states this cd is the worst in KMFDM's ever growing catalog (May 9 of '06 we will see the release of Ruck Zuck) well that reviewer has never heard ADIOS... or has heard it but deliberatly forgot every track but DIY.

This industrial/electronic/dance metal group may be German based, but it would be a huge mistake to think that they're Rammstein impersonators. As demonstrated well on their 15th album, "Hau Ruck," KMFDM's music sounds very carefully calculated and assembled. Plus--with occasionally grinding guitars (as in "You're No Good"), reverberating synthesizers, gentle vocals, Nine Inch Nails-esque drum beats (see "Mini Mini Mini"), and beats that are a DJ's dream--KMFDM is much more reminiscent of Ministry and Skinny Puppy than Rammstein. And finally, "Hau Ruck" is quite dark, ominous, and creepy. ("Every Day's A Good Day" has lyrics like "every day is a good day to die," "Feed Our Fame" includes eerie whispering, and "Ready To Blow" ends with a gunshot.) The whole album is danceable or nearly danceable, but "Free Your Hate" and the title track are the most rhythmic of the bunch. The former song, the album opening track, is very catchy, with a drum beat, synths that make a laser-like noise, and vocals that echo Al Jourgensen. This track is also a highlight because it has political, anti-establishment lyrics and messages. And the title track is very futuristic, with a weird, robotic vocal effect. Other standouts include the beeping/twinkling/almost aquatic keyboards and feminine crooning on "Real Thing," and "Professional Killer," which is very new-wavy and has toe-tapping drums, and repetitive, humming synths. If you don't take anything else from this review, just know that "Hau Ruck" is KMFDM's finest offering to date, and it has my vote for being one of the most pleasing and satisfying industrial/electronic/dance metal albums since "The Downward Spiral" was released over a decade ago.

If you're like me, you think of the Symbols album as KMFDM's masterpiece. That album was my first real introduction to KMFDM and it got me hooked. Stellar synth work with just the right amount of guitar to drive it. Since it came out, I've been waiting for something from KMFDM on the same level, and haven't really gotten it. Adios is an OK album, but definitely not of the same quality as Symbols. And since then, they've focused on the metal side of things... with mixed results. Mostly not-so-good results, if you ask me.

With Hau Ruck they've definitely improved on their metal sound, though, and I like it a lot. They seem a lot more comfortable with this style; the songs feel less forced and (a bit less) formulaic than Attak or WWIII did.

But then you get to Professional Killer. Holy crap. I hear this and I think to myself, "I want an entire album of this s**t and I want it NOW." It's amazing! It makes you wonder if they've always been able to produce stuff like this, and just have chosen not to. And that's friggin frustrating!

So, yes, KMFDM fans will certainly not be disappointed with this album. But you can count my vote for more Symbols style synth work in the future, because they apparently have the ability to go back to it.

I'd like to think that those who have posted negative reviews on this album are either not big fans or too stubborn to appreciate when they hear authentic KMFDM sounds.

For those who have appreciation for music like this, you can really tell that KMFDM had way more artistic freedom while making this album. If you take time to read the back of the lyrics jacket, you will find a kapt'n's corner entry, speaking about how these songs have been boiling up from within them since the 20th anniversary tour. And this album is the culmination of a year creative brainstorming.

I enjoy all the songs on this album, there are no filler songs like in their previous albums. Every song is a good one and for me, listening to each one fills my mind with soundwaves of authentic, original kmfdm tunes. I enjoyed the alternate-language songs on this album, namely Auf Wiederseh'n and Hau Ruck, as well as Mini Mini Mini which is completely in French. They have a primitive sound that you just can't get enough of. And Professional Killer and Ready to Blow are great songs that Lucia had a ball on. Unlike WWIII, when you hear Lucia making her presence known, the song hasn't been changed in strength (in comparison to the other meaty, masculine beats of the other songs). I find this refreshing. Girls can be tough too, you know.

KMFDM shines in this album and it shows. Lucky for me, I live in their hometown so I will be witnessing the opening show of their tour.

I highly suggest purchasing this album.

The first two KMFDM albums that came out after the reformation were very unimpressive. They sounded dull, unfocused, and rushed. This album, on the other hand, shows off KMFDM at their very best. After two albums with way too many boring guitar riffs, not enough industrial touches, and just an unexciting overall feeling, KMFDM really is back.

For any true fans that have been following them for more than a decade, this is the album you need to buy. I think a number of things are responsible for the very high quality level of this album.

First of all, there are no guest appearances, and this causes the entire work to sound much more coherent and purposeful. I've enjoyed Raymond Watts in the past, and I own some Pig albums but his influence on the last album was definitely a negative. It was taking away from the true KMFDM sound.

Second, I think the fact that Sascha ditched the digital equipment and went really retro with all the analog stuff got him excited about his craft again, and it shows. The most crucial basic fact of the matter is this: the songwriting on this album is just amazing, and it blows away the last two albums in terms of skill level. Sascha has figured out how to make KMFDM work without En Esch and Gunter. He's finally adapted and made KMFDM into something to be proud of again.

Now, this album isn't flawless, but it is pretty close. The title track is just about perfect. It has the KMFDM sound that I cherish above all others: the sound of a well-oiled machine, that crunching, stomping, indestructible feeling that shows KMFDM at their strongest. It is reminiscent of "Rules" off of Xtort. In fact, a lot of the songs recall the KMFDM of the mid to late 90s, which was one of their best eras. The opener, "Free Your Hate," sounds like it could've been on Adios, and tracks like "Professional Killer," "Feed Our Fame," and "Ready to Blow" are just delightful guitar-coated industrial romps through fields of electronic quirks and twitches. Even "Mini Mini Mini," which is a cover of some old French pop song, has the perfect crushing beats and riffs, becoming a thing of energetic beauty. Even when they're singing cliched lines like "fight the power!" it works, and you believe it.

Strangely, the weakest parts of this album are those that feature more vocals from Lucia. As much as she was a strength on their previous album, she is a weakness on this one. Still, she is only weak relative to the rest of the album. Her performances aren't poor, far from it. For some reason, though, they just don't quite work as well. The only other piece that really doesn't work is "Every Day's a Good Day," which features a mildly annoying chorus. Other than that, this album kicks you know what.

The album finishes really strongly with "Auf Wiederseh'n," which is a weird yet satisfying tune that sums up the album nicely. This album has at least three incredible tracks, half a dozen really good tunes, and only one or two that aren't that great. Even the lesser tracks have brilliant moments.

I didn't like the last two albums because they were unexciting heavy metal throwaway dumpster expiditions. With this album, KMFDM again is doing what it does best: making music that sounds like it came out of a gigantic, living, breathing, pulsating machine. This is probably their best album in a decade. Congratulations, Sascha, you did it!

Edit: I meant to click this at 5 stars.

This album is hard - leaning more towards heavy metal than some of the more up-beat stuff.

several AMAZING German tracks, and Lucia busts it out in "real thing" which sounds pretty garbage-esc.

I dig it, I find only 1 song that I dislike, and there are 5 songs I just want to place on repeat time and time and time again. It really got me revved up to see them in concert!

To show where my musical tastes go, I also enjoy: Rammstein, NIN, Godhead, Gravity Kills, PIG, Stabbing Westward, and many other KMFDM albums such as WWIII, Symbols, Attack, and MDFMK.