Rammstein

This is the first album of Rammstein and dates back to 1995:

The great Teutonic goth/industrial/heavy metal band Rammstein announced themselves loudly to the world with the release of their first studio album "Herzeleid" ("Heartbreak"). What an announcement it was, and continues to be. The band, and their worldwide legions of fans, have not looked back since.

The first track, "Wollt Ihr das Bett in flammen sehen" ("Would you like to see the bed in flames") not only kicks the album into high gear from the outset, but also vividly stamps Rammstein's inimitable style into the psyche: like hip-hop, it consists largely of simple electronic ostinati laced with sound-effects samples (in this case, lifted from the original Doom game); the lyrics are often not sung so much as forcefully recited. Unlike most hip-hop, though, the melodies are driven by some (at times, extremely) heavy guitars, drums, and keyboards. This is solid Industrial Rock, but it's also remarkably street-wise in its use of catchy, danceable grooves, and is even playful in a dark sort of way. Not that there isn't some anger in there - the song ends with chants of "Rammstein!", which not only serves to announce the band's name, but also as a rallying cry, as it refers to a tragic plane crash during an air show at the Rammstein U.S. Air Force Base that killed a good many onlookers. I don't know if the anger is justified, but the music certainly is: it kicks some serious ASS.

Barely pausing for breath, the album cranks it up a notch with "Der Meister" ("The Master"), which features anarchic lyrics about destruction. It's faster, grittier, and harder. The escalation continues with "Weisses Fleisch" ("White Flesh") - a combination that prompted many a reactionary critic to assume the band was Fascist. These people obviously don't listen to much rock-n-roll, and/or have a tin ear for Artistic Irony. All three songs - especially "Der Meister" - are works of pure exuberance. They are dripping with cheerful sarcasm, much as Pink Floyd's thematically similar tracks from "The Wall" ("In The Flesh (reprise)", "You Better Run", and "Waiting for the Worms").

Just when you think it couldn't get more energetic, "Asche zu Asche" ("Ashes to Ashes") slips the album into overdrive with its speed-metal revenge fantasy that sounds like it could have come right from the Quake sound track (I've blasted a lot of virtual monsters to this song).

The fifth track finally allows the album to relax and breathe with "Seeman" ("Sailor") - a remarkably spare and gentle ballad about positive change in the wake of shattering experiences. It's in this song, with its urgent plea for sanity in the midst of chaos, that one gets a glimpse of Rammstein's motives. They want to shake things up, yes, but to make life better. Or at least more fun. From where I stand, that's pretty much rock-n-roll in a nutshell.

The next three songs continue the trend of diversification with a variety of styles that are all, nonetheless, infused with Rammsteiny goodness: "Du Riechst so gut" ("You Smell so Good"), another speed-metal tune about obsession; the bluesy "Das Alte Leid" ("The Old Pain"); and the black-as-pitch gothic horror-cum-dance tune "Heirate Mich" ("Marry Me"), which borrows heavily from Edgar Allen Poe's fixation with dead lovers. But for the German lyrics, it could be a Nine Inch Nails cut. No doubt this is the one Gomez and Morticia Addams play on their anniversary. As an aside, this particular song, along with the final track, "Rammstein", was featured prominently (and to deeply chilling effect) in David Lynch's classic film Lost Highway.

The title track "Herzeleid" rips along next, followed by the catchy "Laichzeit" ("Spawning Time"), forming a trio of unorthodox love songs bred from an odd mix of wary realism and dark romanticism.

The last cut, "Rammstein", exemplifies another trait of the band's music - a kind of Spartan, poetic obliqueness in the lyrics that mostly leaves them open to interpretation. Lyricist Till Lindemann has said Rammstein's lyrics often work on three or four levels. Quite. On top there is the literal meaning of the words, which dutifully echo the heavy-metal nihilism we expect of a rock band from the former East Germany. Below is a more philosophical (and, I suspect, politically Libertarian) subtext that speaks a sociological or political message. Below that is an emotional cross-current of dark irony. Finally, there is that tongue-in-cheek playfulness I've always sensed in the band's music - the shocking, sophomoric kind of playfulness that has occasionally landed Rammstein in trouble for performing such stunts as the simulated anal sex act during the performance of "Bueck Dich" ("Bend Down") during the "Mutter" tour (and which got them arrested in the U.S. for "indecency").

All told, a terrific album, let alone first album, for any rock band.

Wing J. Flanagan (Orlando, Florida United States)

This is Rammstein's second album, produced in 1997:

There's not a big precedent for German bands succeeding in the United States, the '80s bombast-rock of the 'Scorpions' notwithstanding.
Rammstein, however, may be the macho men to get the job done, at least in a concert setting. Decidedly Teutonic and militant in sound and lyrics -- they sing in German and their commanding semi-industrial metal is compelling -- Rammstein garnered rock-radio airplay for the catchy sing-along "Du Hast," which translates here as "You Hate" and bears a striking musical resemblance to the 'Golden Earring' tune "Twilight Zone."

While Sehnsucht's 11 songs are solid, it's the live shows where everything gels. There, KISS pyrotechnics and disturbing NIN-like images, for example, complement Rammstein's forceful music. Without the visual stimuli, Sehnsucht (which means "longing") is still a strong effort, but live is where the album's Germanic gems really shine. -- Katherine Turman


Most people became Rammstein fans or checked into Rammstein after hearing the song "Du Hast" on the radio. That might be this German group's biggest hit single, but there are several other very good songs on here, and the album as a whole is also very good. And honestly, who cares what "du hast" means? Let it mean whatever you want it to mean! Or just ignore the lyrics, and listen to that song because it's catchy and has good music.

Rammstein have always been a solid and underrated/overlooked band, because most Americans can't get past the language barrier. I'll admit, I couldn't either, at first, but then I started listening to it just for the music and I started to really like "Sehnsucht."

"Sehnsucht" is the sound of industrial metal done right. Rammstein aren't heavy on the synthesizers; they riff more than some industrial bands (i.e. Nine Inch Nails) would ever dream of. But, unlike some (other) metal bands, Rammstein actually have rhythm. The riffs aren't dominating or super heavy; they make a "chugga chugga" sound, which often makes the rhythms worthy of a toe-tapping. And sprinkle on some keyboards and bells, and the result is an album which is truly worthy of the label "dance metal."

The title track tosses in some beeping, buzzing synths in between the heavy chugging guitar riffs and thumping drums. There's a good, mechanical vibe flowing throughout this song, and this song also has a catchy refrain.
"Engel" falls into a top-tapping groove, when the guitars and synths kick in, but this song is a personal favorite because it uses some pretty female vocals well.
The beginning and end of "Tier" sounds partially acoustic, and the middle has more fast, rhythmic chugging guitars.
"Bestrafe Mich" has riffs which are so chunky, they sound like slow buzzsaw riffs. A synth solo is included near the end, also.
"Du Hast" has the usual guitars and drum noise, but thanks to the twinkling synthesizers (at the beginning and near the end), this song might be the catchiest on the album.
"Buck Dich" features pounding, booming riffs which are great for banging your head to.
"Spiel Mit Mir" begins with high pitched vocals and even some violin plucking, and then the crunchy riffs kick in.
"Klavier" begins with some real singing and light, piano keys, but the big power chords and raised vocals make an appearance for the brooding choruses.
"Alter Mann" has more repetitive chugga-chugga guitar work, but the drums in the background make an almost aquatic sound.
"Eifersucht" features another very catchy rhythm, with grooving guitars. Most of the singing is deep and snarly, but there are some backing vocals which sound almost like laughter.
"Kuss Mich" is, musically, like any other track on here, but this song has some animated and almost funny sound effects.
The hidden track, "Stripped," is sung in English, so it's surprising. Plus, the vocals are slow (almost spoken words), so this song is also quite creepy.

So, it would be wise of you to get past the language barrier (or just listen to this C.D. for the music), because I've looked up the lyrics online and they're not that great. Other than that, though, this C.D. is solid from front to black. All metal collections need some industrial metal, and Rammstein do this genre very well, so all metalheads (and all fans of dance metal and bands like KMFDM) should definitely check this album out! -- A. Stutheit "andreaabs" (Littleton, CO USA)

Rammstein's third album, released in 2001:

This German industrial-metal machine has proven itself to be quite popular, with their engaging, potent brand of electronic-enhanced guitar rock and outlandish stage shows appealing to everyone from young teens to fortysomethings. (Their last studio release, 1998's Sehnsucht, went gold in the U.S.) On their third studio album, Mutter, the sextet augments its propulsive sound with a live string section and a soprano on a few tracks, while offering two mellower tracks to show their soft side. Even if they're not breaking down major barriers with their latest release, the enigmatic Rammstein should still continue pleasing numerous musical insurgents across the globe. -- Bryan Reesman


Rammstein is back!!! Those insane, Teutonic, metal-spewing, fire engulfed Germans are back and with quite a bang!!! This cd is definitely a change of sound for the Industrial Metal band that made it big in the states a few years back with Sehnsucht (their second album). Rammstein, in Mutter, shows their audience that they can really put forth the goods and not be repetitive, as most metal bands are.

Peppering Mutter with a large dose of orchestral influence blended with eerily voiced lyrics and a healthy dose of grinding guitars, creepy samples, and superbly formatted songs, the group from East Germany manages to step up in their creative ladder and form a refreshing sound that brings memories of their past albums but does not become a stereotypical cd.

In this album Rammstein address the public/critics' views of their music in the song Links 234 (the critics once accused Rammstein of Nazism, this is their cleverly disguised retraction to the false claims). Gothic, classical influence is pleasantly explored in Sonne(Sun) and Nebel(Fog)to extremely good results. A sense of fantastical horror is meticulously threaded in the tunes, Mein Herz Brennt(My Heart Burns) and Spieluhr(Music Box)which, in my personal opinion are the paragon of the album. Fast metal, with a new and crunching melody, can be found in fascinating Zwitter(Hermaphrodite), Rein Raus(In Out), Adios(a very successful punk sound is played out here), Feur Frei(Fire!!), and the incomparable Ich Will(I Want). A very dramatic mode of metal is accomplished in the title track Mutter(Mother) which seeps with sorrow and a heavy pessimism but also has a very important message behind it.

Overall this album proves Rammstein's most intriguing work as the band delves into musical lands they had yet to uncover and do so with no failure. Fans of the past will find the album refreshing and most astounding. Newcomers will discover Rammstein as no one has ever seen them before, fully matured in their music and at their height(so far, at least) of their talent. Mutter has been waited for for nearly four years and Rammstein did not fail their fans in delivering the goods. A definite MUST BUY!! Even for those who are not particularily partial to German music this proves to be an album on which to make an exception. Fantastic, overwhelming, and spellbinding, don't miss it!!! - Abel Gil (Clint, TX United States)

Reise, Reise is Rammstein's fourth album and was published in 2004:

The German Kings of Power Metal Never Stray Too Far from Controversy and this is the Follow Up to their Breakthu Album "Mutter". The Wall of Sound Comes at You at 1,000 Mph and Won't Let Up! features the First Single "Mein Teil".


Rammstein's latest album continues the greatness of one of the most ingenious and unique metal acts ever put together. I would think that I would hear a mediocre or so-so song by them by now, but no. This band just gets better and every song they make is awesome.

Reise Reise is a great jump for the band, this is easily their most creative album musically and I think lyrically as well. Once you start hearing the accordion on the shanty-ish "Reise Reise", you know you are in for something special. The album is different musically in the use of the accordion also in Moscow, and the acoustic trappings of Los which has a very cavernous bluesy feel.

Lyrically you have the madness of Mein Teil (taking in the story of one of Germany's notorious recent murders), to the ingenious of crass comercialism with Amerika as lead singer Teil waxes about the glory of US domination. Or the great symobolism of Dali Lama which talks about a plane crash of scared passengers, alluding to the Dali Lama's own true fear of flying. Absoultely brilliant!

They even make some poignant beautiful music in Ohne Dich (Without You), Tiel and the band has never sounded so wonderful. And the closer Amour sounds like these Germans could easily fit in comfortable in some dingy Paris cafe.

An incredibly diverse album filled with symbolism, great metal, and most importantly awesome tunes!! -- codecruncher "codecruncher" (Washington, DC USA)

This is the fifth stuido album by Rammstein. It apperead in 2005:

East German industrial titans follow up 2004's Reise Reise with this fifth studio album, whose title translates as "Rose Red". It consists of leftover material from the Reise Reise sessions which the band felt strong enough to merit a release in its own right. On this album they continue to broaden their palette with a track in Spanish and a duet with Texas's Sharleen Spiteri on "Stirb Nicht Vor Mir" ("Don't Die Before Me"). Includes the single "Benzin" ("Petrol").


Even though Rammstein released a new album only a year after their 2004 release, "Reise, Reise," and several of the songs on "Rosenrot" are b-sides from the 2004 recording sessions, it is an unfair statement to say the new album is "Reise, Reise: Part 2." Sure, the chugga-chugga riffs that 1998's "Sehnsucht" had are still mostly missing, but "Rosenrot" is not nearly as dark or brooding as its predecessor. And six of the songs on here are "Reise, Reise" out-takes, but five of the songs are new, and it's hard to tell which are which. On this, Rammstein's fifth record, the German industrial metal machine offsets artsy songs with full-fledged rockers. "Wo Bist Du" contrasts guitar crunch with a wind instrument of some kind, and some beeping synthesizers; track six is almost a power ballad with soft strumming and female singing; and "Ein Lied" even finds a choir joining the scene. But, conversely, there is still plenty of stuff to snap your neck to. "Spring" has snarling vocals in the verses and heavy, pounding riffs in the choruses; "Zerstoren" has chug and churn guitars which almost make your speakers vibrate; and "Hilf Mir" ends with explosive riffs that take turns with cool piano playing. Two other standout tracks are "Mann Gegen Mann" and "Feuer und Wasser." These songs make good use of a soft-loud dynamic, with restrained verses and thunderous choruses. All in all, "Rosenrot" is not Rammstein's finest work to date, but it is yet another very solid album from a very solid band. It isn't a mindblowing album, but it will surely satisfy and solidify a strong fan base. If you're a fan and you can find it, definitely grab it. -- A. Stutheit "andreaabs" (Littleton, CO USA)

Thsi is a live recording from 1999:

This 79-minute disc documents Rammstein's live shows from mid-1998. The band's performances include powerful theatrics and pyrotechnics (lead singer Till Lindemann even sets himself on fire), but even without the aid of visuals, this CD is a faithful representation of their explosive energy. Songs "Rammstein" and "Sehnsucht" receive appropriately raw and straightforward readings, while "Bueck Dich" comes gloriously alive with audience interaction and additional electronic rhythms. Also benefiting from the fiery live setting are "Du Hast" and the beautifully mournful "Engel," where the audience enthusiastically joins in on choruses.

Aggressive drama is the most obvious feature of this recording, but quieter moments such as "Wilder Wein" provide effective dynamics and pacing. Flake's creative keyboard work, one of Rammstein's most distinguishing features, is generally more prominent in these live versions.

The guitar licks of Richard Kruspe and Paul Landers are thick and tight, while drummer Christoph Schneider thrashes away with loose precision. --Mark McCleerey

Great packaging of audio/video with 5.1 digital sound, plus a huge ammount of photographs. The concert was recorded at Nimes on the South of France in an old Roman amphitheater in front of 12500 fans.

I'll make this short and sweet. If you don't want all the interviews and extras in the Volkerball sets that cost big bucks, buy this package. One concert DVD and one audio CD for an unbelievable price in a great fold-out package. This is the essential good stuff and you can't beat the price! The dvd has over 100 minutes of concert footage!!! The DVD is compatible with Region 1 US machines. The CD is full-length (75 minutes)and live. Wow! Victoria A. Wildermuth (Odessa, TX USA)