Die Warzau ‎– Engine

Wax Trax! Records ‎– TVT 7216-2, TVT Records ‎– TVT 7216-2
CD, Album


1 Missing It 4:17
2 Liberated 5:11
3 Lizardoplacentis 6:20
4 Muck 5:24
5 Cyberdelia Non Corborundum 4:50
6 Grounded 7:49
7 Heroin A.D. 4:54
8 Belly 6:17
9 Ultraplanet 4:38
10 Pughead (Badacidanimals) 3:01
11 All Good Girls 6:21
12 Material 4:57
13 Shakespeare 3:59
14 Amphibious 5:31
15 America 1:00
16 Untitled 0:06

Companies, etc.



Recorded and mixed at Warzone 1, Chicago, Illinois.

Track 16 does not appear in the tracklist on the release.

© ℗ 1994 Wax Trax! Records, Inc.
Printed in Canada.

Barcode and Other Identifiers

  • Barcode (Text): 0 16581 72162 3
  • Matrix / Runout: 4R TVT 7216-2 SRC##02 M1S2

Other Versions (2 of 2) View All

Cat# Artist Title (Format) Label Cat# Country Year
TVT 7216-2V Die Warzau Engine(CD, Album, Promo) TVT Records TVT 7216-2V US 1994 Sell This Version
TVT 7216-4 Die Warzau Engine(Cass, Album) Wax Trax! Records, TVT Records TVT 7216-4 US 1994 Sell This Version



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December 13, 2010
tipper would love this one.

die warzau was a bit of a strange anomaly, a depraved orchestra of pure degeneracy that grew to subsume the entire chicago "industrial" scene before it imploded. this disc is remarkably varied, implementing elements of hip-hop, jazz, funk, rock, pop, disco, industrial and classical music into a swirling, satirical, deviant mess that must be heard to be believed.

while i've labelled the disc as "industrial", this is due more to the personnel than due to the content. the disc itself is very difficult to pigeonhole. the disc is built on top of an "industrial" base of samplers, sequencers and beats but it sounds more like noisy, abstract, dirty chicago funk and it feels like an updated rendition of the kind of jazz that was loudly denigrated by conservatives throughout it's early existence, complete with all kinds of swingish horn parts and tom-centric drum parts. this feeling of early jazz is what is most extrapolated within the thematic content; moral conventions are not just eschewed, they are openly denounced, from apparently anarchist political critiques to explicit attempts to incite spontaneous orgies on the dance floor in front of them. from start to finish, this is absolute mayhem, yet it is also controlled mayhem that is quite clearly very consciously written.

all of that sounds like it shouldn't be taken entirely seriously and every indication is that it shouldn't, although it should be taken half-seriously. lizardo placentis, for example, features a sample of a young child (or an adult's voice manipulated to sound like that of a young child) explaining that even children have an intuitive understanding of hypocrisy and that the tactics used to control children in the playground aren't necessarily effectively extrapolated into general means of maintaining control, the premise of which has a level of sly wit underlying it. this sly wit carries through most of the disc, from the satirical take on "liberty" presented in the second track to the tongue-in-cheek title of the thirteenth.

yet, what separates the disc from the other hundred similar discs that came out of chicago between 1980 and 2000 is it's musical complexity, which is simply unparalleled in chicago-based industrial music. grounded, for example, begins with several minutes of romantic piano parts overlaid onto bawling saxophones, while pughead sounds like industrial miles-davis and several portions of the disc sound like what one would presume count basie would sound like if he were producing music in the mid 90s. there are more horns on the disc than guitars, which is very unusual in industrial music, although there is a precursor in some of jim thirlwell's work.

a word of warning is necessary for the 11th song. the way to interpret it is as within the previously aforementioned level of devious humour. it sounds like electronic radio pop in the style of something a little less aggressive than duran duran, but it's a very twisted track about an incestual relationship. how is that humourous? well, it's an open secret that the band fully intended for the track to be picked up by mtv in the wake of the success of nine inch nails and other "industrial" acts. they thought it would be hilarious to see thousands of people listening to such a twisted song and nodding their head and singing along without even taking the time to see what it is that they were nodding about; it was meant as a sort of statement about the sheepishness of our society and how we follow without questioning. we'll never know whether or not this practical joke would have played out because at least one executive somewhere did listen to it and the band mysteriously disappeared very shortly afterwards. oops.

while the disc is not as well known as it should be, it is viewed as brilliant within certain circles and justifiably fits into a small canon of definitive meta-industrial records, making it essential for all who are interested in the genre.