- KMFDM: Sascha Konietzko (vocals, various instruments, synthesizer, bass, drums, samples, loops, programming); Chris Connelly, Dorona Alberti, Nicole Blackman, Cheryl Wilson, Jennifer Ginsberg (vocals); Bruce Bendinger, Jr. Blackmail (spoken vocals); Mark Durante (slide guitar, guitar); Gunter Schulz (guitar, piano, bass); En Esch (guitar, background vocals); Steve Finckle (saxophone); Jack Kramer, Mike Cichowicz (trumpet); Bob Samborski (trombone); Bruce Breckenfeld (Hammond B-3 organ); William Rieflin (drums); F.M. Einheit (percussion, sound effects); Ron Lowe (drill, vacuum cleaner); John Van Eaton (sound effects).
- Producers: Sascha Konietzko, Gunter Schulz, Chris Shepard.
- Composers: Sascha Konietzko; Schulz Ensemble.
- Lyricists: Sascha Konietzko; Schulz Ensemble.
- KMFDM: Chris Connelly (vocals); Jr. Blackmail (spoken vocals); Steve Finkel (saxophone); Mike Chicowicz (trumpet); Bob Samborski (trombone); Gnter Schulz, Sascha Konietzko (bass instrument); Ron Lowe, F.M. Einheit, John Van Eaton (sound effects); Cheryl Wilson, Bruce Bendinger, Dorona Alberti, Jennifer Ginsberg, En Esch, Jack Kramer, Mark Durante, Nicole Blackman, Bill Rieflin.
- Personnel: Sascha Konietzko (vocals, synthesizer, drums, programming); Bruce Bendinger, Nicole Blackman (vocals); Gnter Schulz (guitar, piano); En Esch, Mark Durante (guitar); Steve Finkel (saxophone); Jack Kramer, Mike Chicowicz (trumpet); Bruce Breckenfeld (organ); Bill Rieflin (drums); Cheryl Wilson, Dorona Alberti, Jennifer Ginsberg (background vocals).
- Audio Mixers: Chris Shepard; Sascha Konietzko.
- Audio Remasterer: Brian Gardner .
- Recording information: Chicago At Chicago Recording Company; Hole In The Wall, Chicago, IL.
- Editor: Sascha Konietzko.
- XTORT doesn't sound markedly different than KMFDM's other releases -- there are still the bruising mechanical drum beats and numbingly drilling guitars, combined with barked vocals. What's noticeable about XTORT -- their first album since industrial broke into the Top 40 with Nine Inch Nails' The Downward Spiral -- is how the band made no concessions to the pop/rock mainstream whatsoever. They are still the same grimy, dank heavy dance band they were in the '80s. For some listeners, that means they're keeping the flame burning and, to a certain extent, they'd be right -- KMFDM sounds as good as they ever have, and several tracks rank among their best. But, over a decade into their career, it would be nice to hear the band branch out and start to experiment a little bit more. ~ Stephen Thomas Erlewine
Rolling Stone (7/11-25/96, p.90) - 3 Stars - Good - "...insidiously arty and intellectually sassy music..."
Entertainment Weekly (7/12/96, pp.58-59) - "...XTORT grooves with menacing force, spattering horns, female backing vocals, strings, and spoken words across an apocalyptic sound grid. At the same time, it's the heaviest and most danceable disc in their 12-year career." - Rating: A-
Alternative Press (11/99, p.23) - Included in AP's 10 "Essential Industrial-Rock ALbums" - "...features a rogues' gallery of guests who assist leader Sascha Konietzko in appropriating styles for his own synth-and-six-stringed empire..."
RIP (9/96, p.72) - 4 (out of 5) - "...On XTORT, the usual combination of turbulent dance beats, grating heavy metal riffs and shouted vocals gives way to the most accomplished set of songs to come from the KMFDM clique thus far..."