As an—Industrial—album dedicated to fear, it isn’t serendipitous to have Dead Body Music II have such an ominously terrific and imposing cover. It is fucking Charlie Chaplin and his fears about the film industry—his famous self depiction arrayed to the grinding gears. The same is now humourously birthing the earliest stage of an EBM band ravaging humans to create DBM. Fucking hell. Fuckin’ right. Let’s not get caught up in the music industry’s premonitions lest it will be generationally traced to pussyfooting 21st Century lost causes.
  Vocally, K2 sings and speaks—confronting topics revolving around existence. The band’s aesthetics are a fervent extension and the Empty Future video epitomizes the rigid aura. Industrial by principle and ajar to non scripting. That is the shit. Fuck what you heard. It is only on reel where high and low values permeate. But unlike that or Chaplin’s, The Mad Mane Machine needs a lot of noise. Some kinds.


  Sans romance playing advocacy to gothic tragedy,—Dead Ophelia is death. With its noise effects and sense of auditory attraction, DBM propels KnK‘s ground beyond Industrial. Sure, K1 and K2 proclaim to metal listenership, but it is more of a creative coincidence on the Industrial-wise Dead Body Music because—what C21 lost causes?—Gardens of Gehenna was crafting such words that saw the light at the millennial turn—and this was meant as a play for aggressiveness and EBM—especially on the non EBM side of things. Kill!

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