Rammstein – Rammstein (Album Review)

Posted on May 16, 2019 by walladmin

Rammstein – Rammstein
Release Date: May 17th, 2019

Line Up:

Till Lindemann // vocals
Richard Z. Kruspe // guitar
Paul Landers // guitar
Oliver Riedel // bass
Christian “Flake” Lorenz // keyboards
Christoph “Doom” Schneider // drums

Online

Website
Facebook
Twitter

FINALLY! After 10 long years, Rammstein have dropped their new album, the self-titled Rammstein, and by the sound of it we are lucky that new material has finally been delivered, after the recording of 2009’s Liebe Ist Für Alle Da was allegedly a difficult one. With that in mind, any new Rammstein is great news for their rabid fans, but is the new album worth the wait?

Opening with the first single ‘Deutchsland’, with its electronic opening before the gritty, heavy guitars kick in, the album starts loud, ferocious and typical Rammstein. The song’s strength lies in the talent of Christoph “Doom” Schniedier’s driving drum beat, Richard Z Kruspe and Paul Landers’ guitar riffs and Christian “Flake” Lorenz’s keyboarding. The song is a strong, catchy start to the album, with its music video clip (which you MUST see if you haven’t already) adding to the excitement.

‘Radio’, the second single and second song follows. Emphasising the electronica elements, the song uses Flake’s skills in a similar way to how the keyboards were the focus on the Sehnsucht album. Although a little underwhelming on the first listen (which was back when the song was first released), ‘Radio’ is the dance metal anthem that would totally go off in goth clubs (RIP Perth Goth club SIN). It’s also a great tune for us English speakers, especially those who struggle with other languages, to sing along too… “RAAAAAAADIOOOO/ Mein Radio”. A classical choir opens ‘Zeig Dich’ (Show Yourself), creating an element of operatic drama to the proceedings. With the instruments and Till Lindemann’s signature vocals, the song is commanding and powerful, seemingly taking a jab at religious organisations with it emulating Catholic choral music. Moving from choirs to EDM, ‘Ausländer’, meaning Foreigner, dance beat and crunchy guitars are simultaneously Rammstein and nothing we have seen from Rammstein before. If any song is going to transition to the mainstream, it’ll be ‘Ausländer’, which you can (ironically) see playing at a rave on a beach in Spain or one of the Greek islands.

‘Sex’ reverts back to the Rammstein we have come to know and love. The guitars drive this song, giving it a solid rock element, that wouldn’t be out of place on Richard’s side project Emigrate. It’s a good old-fashioned rock song, with a great bridge that allows Till to show off his vocal chops. Slowing things down with ‘Puppe’ (Doll), the song’s opening has Till singing with a fragility, that we haven’t seen since ‘Mutter’, giving the song an ethereal yet dangerous quality, before Till’s gruffness and desperation kicks in along with the guitars. ‘Puppe’, is a complex song that melds the vulnerable and threatening together, creating a duality that many songs try and fail to capture. Starting with an insistent drum beat, ‘Was Ich Liebe’ (What I Love) mid tempo and subtle sound effects gives the song a slight 80’s feel. The song sounds somewhat romantic until the final verse, and knowing Rammstein you know that the tone of the song juxtaposes the lyrics. ‘Diamant’ (Diamond), takes things down a notch, with an acoustic guitar, and is a delight. Although not known for their slower, emotionally wrought songs, when Rammstein write a ballad it is always a highlight (see ‘Frühling In Paris’ from Liebe Ist…). The use of strings, woodwind instruments and backing vocals assist in creating a beautiful song.

‘Weit Weg’ (Far Away) ups the tempo, using the keyboards and guitars to continue the 80’s rock vibes. While ‘Tattoo’ firmly sits in the heavy industrial genre, the drums pounding throughout the song. The song is classic Rammstein, including Till’s signature bass vocals and the echoey backing vocals and keyboards. The album finishes with ‘Hallomann’ another song that bounces between enchanting and alarming, with Till’s intimidating vocals, its slide guitar effects, and nursery rhyme feel.

It might have taken 10 years, but Rammstein is seemingly a culmination of the previous six studio albums, taking the best parts of the last few decades and putting it all in one album, while throwing in a few unexpected surprises. Yes, it could be shit and Rammstein fans would love it. But Rammstein have never been shit, even on their worst day. Their talent as individual musicians and performers, as well as the fact that they have been a cohesive and consistent band (no line up changes ever) since the beginning in 1994, is why Rammstein are so bloody good at what they do.

And yes, it’s worth the wait!