After 35 years and 21 full-length albums, is there anything that can be said about the industrial legends that are KMFDM that hasn’t been said already? Likely, not much. Regardless, Sascha “Käpt’n K” Konietzko, Lucia Cifarelli, & co. continue to churn out releases on a regular basis and show no signs of slowing down, putting out high-quality material with plenty to “Rip the System” about without truly becoming cliché or tiresome. The progenitors of the Ultra Heavy Beat haven’t strayed much from the formula employed for the last couple decades… because it works and consistently sounds fresh. So, with PARADISE, KMFDM continues to exhibit displeasure with the sociopolitical landscape, and what better time than now? The album kicks of with off with “K•M•F,” which features multiple interesting facets as it cleverly samples Mr. Trump’s “bing-bong” soundbite throughout the song; as well, it’s hip-hop infused with a legitimate rap provided by Andrew “Ocelot” Lindsley, playing on the longstanding joke of what KMFDM stands for and, in doing so, drops more “fucks” than most hip-hop tracks could ever aspire for. So, the band makes it clear up front that this is going to be a political album. This is then followed by “No Regret,” which shows KMFDM employing its thrashier side as it’s essentially a heavy metal burner in which Konietzko lets the haters know just what he thinks of them. Then Cifarelli steps in as on “Oh My Goth,” she shows her softer side and it could almost pass for a darker song from Garbage or Curve, with some Shirley Manson/Toni Halliday-esque cooing and melody… other than a shriek that can’t help but recall her earliest days with Drill. This doesn’t last, however, for she comes out spewing bile in the title track, and put simply, the song kicks ass as it demonstrates the perfect fusion of her and the Käpt’n when they vocalize together. It also shows a significant dub influence, further calling back to the beginnings of the Ultra Heavy Beat and possibly hinting at the direction of an upcoming album with the last three-and-a-half of the track’s eight minutes being basically an instrumental jam of Konietzko perhaps showing off some of the things he learned from Adrian Sherwood back in the day. Guitarist Andee Blacksugar throws in some melodica as well to add to the ambience, culminating in what is ultimately a great song. “WDYWB” hearkens back to the days of XTORT, using the soul mama diva vocal stylings of Cheryl Wilson and gives the album a nice turn while providing some dance floor fodder as well. “Piggy” also implements a guest in legendary bassist Doug Wimbush (Living Colour/Tackhead) providing some funky accompaniment to Blacksugar’s own angular riffs. “Disturb the Peace” is interesting in the fact that it truly sounds like it could be a cover of a Devo song, the lyrics more pertinent than ever with their indictments of police brutality and the assertion that our “commander in chief is a clown and a thief.” Then, The Lord of Lard, Raymond Watts shows up on a KMFDM album for the first time in 16 years on “Binge Boil & Blow,” and his guttural and slithering croons and growls have been sorely missed, giving the song that extra bit of hog love. Next up is “Megalo,” a rather ballsy sequel/reprise/remix of the legendary “Megalomaniac” – ballsy in how it takes such a beloved hit and transforms it into such a catchy dance floor stomper. Closing the album out is another dub jam in “No God,” by which point, you simply have to say to yourself, “These guys did it again!” With references to older classics and plenty of political disdain that is on point with current events, this is one of KMFDM’s albums in a while and provides a nice soundtrack for the facetious “PARADISE” in which we live that the album title alludes to.