Label: Metropolis Records
Release Date: February 6th, 2026
Genre: Industrial / EDM
Links: https://kmfdm.bandcamp.com/album/enemy
Line Up:
Sascha “Käpt’n K” Konietzko – Vocals, Programming, Songwriting
Lucia Cifarelli – Vocals, Songwriting
Andy Selway – Drums/Percussion
Tidor Nieddu – Guitar
Annabella Konietzko – Vocals/Songwriting on “Yoü”
Tracklist:
“Enemy”
“Oubliette”
“L’Etat”
“Vampyr”
“Yoü”
“Outernational Intervention”
“A Okay”
“Stray Bullet 2.0”
“Catch & Kill”
“Gun Quarter Sue”
“The Second Coming”
Good grief… KMFDM have maintained their presence for four decades. I’m feeling particularly aged today. To me, they embody a style and genre that feels so contemporary, yet half the ensemble’s trajectory occurred while I was still absorbing hair metal via MTV. That’s inconsequential though, as truthfully, I’ve tracked this band for years. They’re trailblazers of a genre I genuinely treasure, and without ensembles like KMFDM (Kein Mehrheit Für Die Mitleid / No Pity For The Majority), we wouldn’t have witnessed the emergence of acts like Combichrist, Rammstein, Rob Zombie, Static-X, Marilyn Manson, Korn… the roster continues indefinitely.
2026 witnesses the band unveiling their 24th studio collection across a four-decade-spanning journey. ‘Enemy‘ provides exactly what you’d anticipate from KMFDM while maintaining freshness through its pounding, bass-driven, sharp, contemporary production values.
The designation ‘Enemy‘ serves as a proclamation. The ensemble positions itself as the “enemy” of pretense, bigotry, authoritarianism, and inequality. Consequently, the album emerged as an immediate response to current worldwide political spectacle, aspiring to function as a “weapon” against indifference. Particularly noteworthy, the track ‘Yoü‘ showcases the compositional debut of Annabella Konietzko (daughter of Founder Sascha and keyboardist Lucia), indicating the subsequent generation joining the battle and preserving the KMFDM vision vibrantly. This will presumably assist in molding the lyrical subjects the band addresses moving forward, confronting concerns that resonate with our children equally as the ones impacting us.
Personal standouts include ‘Vampyr‘ which strikes me as the quintessential KMFDM composition, embodying everything I appreciate about the ensemble’s output. ‘Yoü‘ deserves recognition because it integrates into the KMFDM framework flawlessly, which promises positive developments for upcoming releases as they broaden their collaboration (while maintaining familial connections). ‘Stray Bullet 2.0‘ carries a reggae quality that consistently results in my head nodding while I confidently move throughout the space to the rhythm.
It’s entirely exceptional, without any mediocrity, from an ensemble that seemingly shouldn’t sound this accomplished following 24 albums and 40 years together, yet somehow, KMFDM surpass all expectations once more and deliver magnificently.
Ratings: 9/10
Reviewed by Adrian Hextall
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