KMFDM ringleader Sasha Konietzko is a soft-spoken luminary of industrial rock. He talks with a grace and poise that is typically German, weighing his words carefully as we discuss the band’s new release, Hau Ruck.

It’s been less than two years since their previous work, WWIII, took them on an extensive tour of Canada and the United States. Captain K, as he is also known, had promised Canadian fans that KMFDM would return for live performances within 365 days, leaving them less than half-a-year to complete their new self-produced record–long-time producer Chris Shepard has been discarded on Hau Ruck.

KMFDM’s two main songwriters, Konietzko: and singer Lucia Cifarelli, explained the motivations behind Hau Ruck (their 17th full-length release, if we include a few live recordings), the evolution of the band, and the perils of living in the United States of America.

What prompted the decision to go ahead and make another album so soon?

Konietzko: We had just got off tour in late December. We came home and figured, "now is the time to make an album because we wanted to be on the road by the fall of 2005." Actually, we didn’t have all that much time. We only had about six months, very focused–we went straight to work and managed to get it done.

Would you say the approach to Hau Ruck was different than with WWIII?

Konietzko: It was very different. The name Hau Ruck in German means "heave-ho" in a roll-up-your-sleeves and get-to-work kinda sense. It’s precisely what we did. We rolled up our sleeves, put our heads to it and just let it rip.

There was a lot of anger against the government in WWIII. On Hau Ruck, it doesn’t seem toned down, but there is an added Orwellian twist instead.

Konietzko: That also has to do with the title Hau Ruck. It’s fine to assess the status as being fucked beyond all repairs, but what are you going to do about it?

Do you really think that things are fucked up beyond repair?

Konietzko: In this country, it’s very fucked up. [Future] generations will have to deal with the aftermath of what this blundering idiot is doing. A couple of years ago, things looked pretty nice here in the United States. The economy was good. There was a lot of money in the coffers. We had a funny President that did sex games in his office. It was quite entertaining. [Bush]–as was predictable–was going to start war-games but, to the extent that it’s been going on in the last five years, it’s quite baffling. In my mind, the only thing missing are the brown shirts parading in the streets.

What kind of role do you feel KMFDM or industrial music can play in the grand scheme of things?

Konietzko: It would be preposterous to even assume that we can play a role. My philosophy is always that every structure has its weaknesses–often at the point that you least suspect. Like the way water drips and makes stone melt. All work needs to be done at the basis of things. The basis that is most necessary in the United States is education. People are just totally used to not educating themselves, they think it’s too much work, and flee into some form of consumerism and false hope. I think it’s important that people wake up; things that we do have a price, and someone will have to pay that price at some point.

Cifarelli: I have to be honest; I really developed my political sense as a result of being in KMFDM. I was never that involved in world affairs and I was pretty much an ignorant idiot for most of my life. I’m not very proud of that. One of the most enlightening aspects of my involvement in KMFDM is this "waking up" and opening my eyes, seeing what’s going on.

Do you feel sometimes there’s just too much negativity or it’s just too bleak to look at?

Konietzko: No, I don’t think it is too bleak. It can’t be too bleak. Entertainment doesn’t have to be pleasant at all times. For example, stand-up comedy can be very political and funny. There’s always the measure of exaggeration that artists use. Exaggeration really brings the point home even better. At the same time, people that are familiar with KMFDM can’t really see us as just being dead serious and providing this horrible outlook. There’s a lot of fun and irony in it.

Do you feel that it’s taken a poppier approach with some of the songs that Lucia wrote or is singing on?

Konietzko: She has a very unique sensibility for writing catchy melodies and hooks. I’m very glad that she brings that to the table because it’s something that is not my forte. I have a more linear approach to things.

Cifarelli: My views are just as pointed as his, but I use a lot more metaphors rather than literally saying something. I don’t have the gift that he has as far as being able to shape the music, so writing is really my only focus along with my singing. My lyrics tend to be very dark; they tend to lead the listener into wondering what it’s about.

What would you say is the biggest difference between the KMFDM of today and the KMFDM of the ’80s?

Konietzko: Hmm. That’s a really big question. There are many aspects that are different. In the ’80s, equipment was hardly affordable. Synthesizers were still a thing of mystery. Recording studios were big halls full of equipment that someone like me would never imagine having the chance to own and really spend time with. So, our music was somewhat conceived in our head. We would go into the studio and just let loose–see if we could capture the outbursts.

In the ’80s, the mindset was that we wanted to be hard, we wanted to be sober. We didn’t want to be associated with hippies or the shit that our parents liked–like the Beatles or something. It resulted in "it doesn’t matter how it sounds as long as the feeling gets across."