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Ah! The "terrific" 90's, the decade of innovation and controversy. Some hail it as one of the most creative moments in music, while others consider that the 90's almost killed every sign of good music. Due to those changing times, we also witnessed how most of our metal idols suffered from a deep midlife crisis in their struggle to remain relevant after all the years of excess and success during our beloved "decadent" decade.
Who will forget those "Risk", "Chameleon", "Load", "Jugulator", "Endorama", "Predator", "Generation Swine", "Remains", "Roots"... that made us feel betrayed by all the bands who gave us moments of joy during so many years? And obviously, W.A.S.P. also had their shameful moment, named "Kill. Fuck. Die". With the years, while some of those experimental albums proved to be decent efforts of self-recycling, others just remained as pathetic attempts to keep the attention of legions of fans and record labels that turned their backs to those who were once considered the elite of the music genre.
Where should we place "K.F.D."? Probably in-between them all, because although we can't consider it as a complete failure, it fails to reach the expectations created by the return of one of the last true rock stars to the band that gave him so many satisfactions during the '80s, Chris Holmes. The first impression after playing the album will be very negative if you're one of those who like W.A.S.P.'s classic sound. The guitars are terribly distorted with a very industrial feel, the drums sound triggered, and sometimes Blackie uses a quite annoying vocal harmonizer. It seems obvious that Blackie was very influenced by industrial music during this period. After the first seconds of shock, we may soon recognize the band's typical structures and vocals as the bridge and chorus of the title track erupt.
"Take the Addiction" starts with a very modern riff, but again when the vocals appear, we still perceive those elements that characterized W.A.S.P.'s sound during their early '90s output. "My Tortured Eyes" proves to be a quite dark and intense semi-ballad with very interesting melodies and vocals that make it one of the most interesting tracks in the album. As the songs pass by, you start realizing that the music base itself does not differ too much from what the band previously offered in "The Crimson Idol" and "Still Not Black Enough" or what they will do in, for example, "Dying for the World". The main change relies on the envelope. The production is totally influenced by industrial music and so are all the arrangements and layout. This makes me think that if they had recorded these same songs with the sound of "Unholy Terror" or the aforementioned "Dying for the World", "Kill. Fuck. Die" would probably be a more appreciated album by all the W.A.S.P. fans, but the so modern and industrial production does not let you enjoy the songs of the album as they probably deserve. I'd better go and play "The Last Command"...
Originally written for Ample Destruction 'zine.