From the use of mock German in the opener KMFDM continues to seriously not take themselves seriously. The fact they do so with a straight face is one of the reason this doesn't bother me since I tend to not like humor in music unless it's Lonely Island.I want my militant industrial to take it's self as seriously as a Nazi invasion.
The dip a little too far into the pop realm on "Shake the Cage", leaving the band to sound more Thrill Kill Kult's post- "Sex on Wheels " days. Even this song does adhere closer to the band's traditional sound than they did on "Kunst".When these more edm elements drift into Sasha's song's it does get a little weird since his forceful vocal style doesn't really lend it self to a wider range of emotion or subtlety. The title track even flirts with dub-step, but in a manner I might imagine Lords of Acid would if they released an album. However the pop elements are more well written into the song, and holds onto to sultry dark elements.
The metal guitar arrives on the driven "Salvation". When Sasha's vocals go for a more dynamic texture, the effects layered over his voice make it more appropriate and believable. "Blood vs Money" finds the band in more familiar lyrical territory. Sasha 's voice takes on a more guttural rasp before being more sung in a manner that displays he has expanded his range over the years.
The sexual element has become more overt with every album as Lucia herself has become more sexualized on stage and now in the studio. Live it seems like it balances out Sasha's militant drill Sargent from mars persona. She captured this best on the song "Looking For Strange", a darker counter point to the more soulful "Juke Joint Jezebel" of her predecessor, that left her with big latex boots to fill. It's when this happens on the more pop side of what Lords of Acid does that it can glare out from the rest of the album, though with the direction KMFDM, has taken on the past couple of albums it might not sound out of place.
Brainwashed has a more industrial pulse and pound and is one of the albums strongest tracks.
KMFDM finds their most classic work coming about as s by product of when the dancey elements have come about because of a good groove rather than being forced into place by production. Playing God touches upon this formula that works for them even with some of the slick computer tricks of today's recording process, especially when it comes to this genre .
I'll give this one an 8.5 and see how it grow on me . It walks a middle ground between "Kunst" which might have stepped too far from the band's best sound into edm and the more traditional KmFDM song but much less "angst" injected into it.
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