With Rammstein in no apparent hurry to do anything this side of a new Tool album, Nine Inch Nails warmly cocooned up Trent Reznor’s ambient arse, and Ministry sounding like they’re shaking Al Jourgensen’s face jewellery in a bucket these days, one might wonder about the relevance of the elder statesmen of industrial music in 2017, but fear not, reliable old KMFDM are back like clockwork to prove there’s life in the beast yet, albeit a different beast to their 90s heyday. The band’s 20th album in 33 years is surprisingly reminiscent of said decade, just not the one they helped create, continuing the increased reliance on electronics started 10 years ago with ‘Tohuvabohu’. The caustic metal riffs of old have largely been abandoned in favour of the kind of bleeps and squeals that peppered the 1990s techno scene, and in that respect the band are not doing anything they couldn’t 20 years ago, meaning a great deal of ‘Hell Yeah’ comes loaded with hints of The KLF and phenomenal amounts of Fluke, and while there’s nothing wrong with that, after years of influencing it would be nice to see the band taking influence from the current landscape, be that metal or otherwise. Obviously no one wants KMFD-EDM, and ‘Rx 4 The Damned’ has a nice glitchy, dubsteppy feel to it, but realistically the album lacks that one thunder-track from either side of the coin to burst it wide open. However, regardless of what ‘Hell Yeah’ does or doesn’t do, the fact remains it’s KMFDM, and that means catchy-as-hell songs; lyrical rallying against social disease; instantly recognisable Aidan Hughes artwork; and the kind of music that is still used by mainstream TV to signify “weird” people when they can’t crowbar a cyber-goth fetish club scene into the mix. So bed-shittingly heavy in the density of sound that it often feels like Mecha-Godzilla is making sexy times with your ear canals, the sheer heft of ‘Hell Yeah’ is a glory to behold, and it definitely ranks in the upper half of the band’s peerless output.