“RETRO”

KMFDM

No pity for the majority.

That’s what the acronym KMFDM means translated from the German “Kein Mehrheit Fur Die Mitlied.”

Contrary to popular belief, the name of the German industrial powerhouse does not stand for “Kill Mother Fuckers Depeche Mode.”

But the enigma that surrounds the group is what makes KMFDM one of the most intriguing acts in today’s music industry.

Repeated one-word five-letter album titles, use of capital letters for everything, striking and rigid cover art, lyrics both boosting and denouncing the band’s ego — all of these aspects are what make up the mysterious image of KMFDM — an image that is quite possibly one of the most ingenious concoctions in music history.

Spreading its virus since 1984, KMFDM has had an insanely prolific output of singles. Highlighting the work of the 14-year-old industrial masterminds is the aptly titled “RETRO,” an album which captures the uninhibited rage and intense power of the band’s music.

Running in descending order from the band’s most recent material all the way down to the stuff from the early days, “RETRO” is a comprehensive lesson in the ways of KMFDM.

“POWER” from 1996’s “XTORT” kick-starts the compilation, followed by “JUKE-JOINT JEZEBEL,” the only song in the group’s history to generate commercial radio airplay.

As the CD lurches forward, it is discovered that KMFDM has developed a more guitar-driven sound over the years, relying less on heavy drum beats, synthesizers and samples to provide the meat of the music.

The classic tune “A DRUG AGAINST WAR” provides the perfect example of a distortion-drenched song that dominates the band’s later period, while “WHAT DO YOU KNOW DEUTSCHLAND?” from the band’s debut album of the same name represents a more keyboard and sample-heavy sound.

Other notable songs found on the disc are the anthem “LIGHT,” the hypnotic “GODLIKE-DOGLIKE,” “MONEY” and “RIP THE SYSTEM!”

Originally released in 1996 as a promo-only CD, “RETRO” is now available to the majority.

No pity for those who refuse to hear its message.

4 1/2 stars out of five

— Conor Bezane