Almost in conjuction with the issue of last Ellipse's album I've recently smuggled in Chain DLK's server, this second rise under Industriegebiet moniker by the mind behind Korperschall Records corroborates my good opinion on Massimo's hyperkinetic creativity. Its stomping steps, the asphyxiating pumping in the groove of distorted drum machines' snarls, synth trumpets, sinister industrial noises, phat beats and other stylistical elements could lead to an easy association of other notorious acts of industrial dance such as Combichrist, Eisenfunk or Nachtmahr, but Industriegebeit's sound often hitches other sonic wagons such as hard techno, breakbeat and goa without disdaining the addition of funky breaks and psychedelic digressions insomuch as projects such as Eat Static (maybe because of braking noise and toytronic sounds in Erniedrigung recalled tracks like "Crash & Burn") and many other "ravenmeister" of that scene. Moreover he joins to the interesting musical flow which tries to vehiculate social exposure, current affairs related to the devastating bequests of the dying beast of capitalism and most morbid misapplication of liberalism by the humorous usage of samples. The title itself, "Wer schoen sein will muss sterben" (whoever wants to be beautiful has to die), might refer to the distinctive feature of some contemporary culture systems, where every aesthetic and even ethical say-so must go through a burial ceremony. This album is rich of sonic firebombs for dancehalls, being my favorite ones "Traum, der nie zu Ende geht", "Gott hat Urlab", "Herzblut" (it really seems Massimo made a sonic and rhythmical translation of recordings taken from interventricular or coronary arteries of a giant!) and "Auf den Tisch hauen". It's possible some devotional Kraftwerk fans - I refer to that kind of fan who thinks a musical track could be sacred that cannot be transfigured - can turn up their nose at that cover of Die Roboter, but its presence doesn't jar with the rest of the album.