I think it's safe to say that with the way Rammstein delivered their first single, a lot of shit was stirred. While some people thought it was hilarious and downright genius, others (myself included) did not think so too much, thinking the opposite. It seemed pointless, very much in the vein of shock rock, with little to no connectivity concerning the music. While I do note that it was funny to a certain degree, I am one to think that to need to portray that in music is unnecessary and a bit foolish. But I digress, onto the album. The former being established, I can't lie and say I had a neutral bias going into listening this album, I thought it would be "eh" and a stray away from Rosenrot and Reise Reise. Fortunately, I was very wrong
The opening track, "Rammlied', starts with this epic orchestral intro with Till singing over it, then proceeding to the standard heavy Rammstein riffage that makes em who they are. Great song, a solid start, and most certainly got my head turning. The next song, "Ich Tu Dir Weh" starts out very softly but then goes into the signature sound yet again, nothing foreign for Rammstein, and it definitely is their
formula. Comes out crisp and heavy, and Till's voice just compliments the riffage so well. "Waidmanns Heil" has one of the most epic intros ever, and goes into this awesome down-picking riffage that is so fucking catchy. Definitely an immediate standout, sounds like it could easily be on Mutter or Senschut. "Haifisch" is one of those "dance" Rammstein songs, still really good but not so much heavy as much catchy and infectious. It didn't stand out too
much for me, but that doesn't mean it doesn't deserve its props. "B********" is a nice heavy track, nothing too outrageous though. Must say the chorus would be an awesome live track, Richard Z's riffage is brutal as hell, and Till just screams his lungs out.
"Frühling in Paris" starts out with this really pretty acoustic lick, proceeding with Till's "narrative" singing voice if that makes any sense. It really is a very pretty song, definitely a song I would go out of my way to listen to in a mellow mood. The song sounds like a stroll through a park or a night in Paris, and surely enough the title translated means "Springtime in Paris". A standout for me hands-down, not for it's raw heaviness or "signature" Rammstein sound, but more so because it strikes me a little bit different than all the other stuff Rammstein have been releasing. Beautiful track
. Moving on, "Wiener Blut" starts out pretty cool, atmospheric, feeling like it's gonna lead into something mad heavy. And surely enough, it fucking does. A brutally awesome track, holds momentum excellently! Standout track, just continues to build up energy, and then at the climax, it relaxes again to go back to the atmospheric feel. There's even a part in the first verse where you hear a young girl laughing in the background and it makes the environment so creepy, a fantastic song.
"Pussy"....we all know that track too well. I'm not gonna diverge too much into it, because I pretty much did in the beginning of this review, but solely for the sake of chronologically finishing this, I'll quickly say I did not like this song much at all to begin with, and especially after hearing this song side-by-side to all the others, it is very weak and very low-caliber material. Now looking at it, I don't understand why this was even made, this album would be so
up there in a "competitive" standpoint this year, but to be really "up" there, I get really harsh, every song has gotta be top-notch, and this song ruins that streak they had
. Oh well, I'll pretend it's not on here
. Moving on, the title track is a nice walk on the right path again, heavy, mid-tempo with some sweet double bassage by Mr. Schneider. Catchy chorus, heavy riffage, awesome keyboard solo, awesome thrashy mid-section (arguably), thus, awesome song
. "Mehr" starts out as the standard Rammstein song, soft intro leading to the real chunky riffage. On a minor tangent,, Richard Z has definitely seemed to appreciate the root note of his songwriting, the open string is definitely getting the spotlight on this record, which is a very good thing in this case. Ever since Emigrate (which was very eh in my opinion), he has seemed to evolve as a songwriter, maybe not so much in technicality/complexity, but in structure and placement. I digress again though, "Mehr" goes into a cool atmospheric feeling that sets it apart from the norm, a great addition to the song. Finally, "Roter Sand" starts with some whistling reminiscent of "Engel" from Sensucht. Good song, nothing fantastic, kinda spooky and ominous in the beginining, then transgressing into a more "I'm looking out at the Western front as the sun is falling with my woman on my steed saying "It's time to go back" then I turn around and ride the steed, it neighs upward then rides into the distance as the credits roll" kind of thing. An odd ending to the album, but it fits somehow, in an awesome way.
My final word, awesome album (except for Pussy), the regular Rammstein fan will enjoy it hopefully as much I did. Great listen, hopefully will find its way up there for my December analysis. Hear for yourselves! Roddy out