Never before has a work of art touched me so. The seeds of love for these German degenerates were—to my dismay—only sewn late in life. The 7th offering from the German metal titans, released through Universal Music in May, is the band’s first album in a decade. It signals the very first album not produced by longtime partner in crime, Jacob Hellner, and instead harnessed the talents of Olsen Involtini of “Emigrate” and the change is immediately evident. After devouring absolutely everything these maniacal musicians have laid before me, I can tell you that this album is, without a doubt, what the hooded masses draped in black crave.
Moving from stride to stride, this album is frivolous, fanatical, and most importantly, LOUD!!!! And I can’t even fucking speak German!
It speaks for itself by being beautiful in its simplicity because it has the uncanny ability to get the body moving and the synapses firing without the use of narcotics! Fists to the sky and feet to the ground. I could have sworn that I heard a couple of familiar riffs intertwined in the vivid sound-scape that Till Linderman manages to create with his pristine vocals. He does an incredible job of belting out the rhetoric of a band who’ve opted to forgo their nihilistic poetry in favour of letting the music and Till’s stoic vocals drive the point home.
This, in unison with Richard Z. Kruspe on lead guitar, provides a clear direction to an album that takes chances—which in my opinion pay huge dividends. Solid riffs permeate throughout this story as it strides down into your ear canal with it’s toe-tapping ferocity. Working in tandem with the sophistication of Paul Landers on rhythm, the guitar work is sure to get your head banging like Beavis hyped up on sugar! The keyboard is nothing short of intoxicating and amalgamates the eerie sensation of being a slave to the whims of its gothic master.
Oviler Riedel represents in his attention to detail when ensuring the bass line rides the wicked synthesized beats spawned by the master of malice, Christiaan Lorenz as he weaves an intricate web of Gothic musical fodder that’s nothing short of intoxicating.
Last but certainly not least is the man that kept my toe tapping and my wrists flying, Christoph Schneider. His mastery of percussion can only be described as genius; he maintains tempo like an absolute pro with percussion that galvanizes the malice and discontent with the fervour that only a metal drummer can bring to the table.
Nothing short of biblical and exactly what the stagnant musical plateau needed to remind us of what truly makes us powerful-the Metal!!!!!
Neigh-sayers be damned! This album is the very epitome of what Rammstein have come to embody, a party-starter, an instigator and ever-adapting in their ability to provide quintessential metal. Love it or hate it…’Tis Rammstein.
1. |
“Deutschland” (“Germany”) |
5:23 |
2. |
“Radio“ |
4:37 |
3. |
“Zeig dich” (“Show Yourself”) |
4:15 |
4. |
“Ausländer” (“Foreigner”) |
3:51 |
5. |
“Sex” |
3:56 |
6. |
“Puppe” (“Doll”) |
4:33 |
7. |
“Was ich liebe” (“What I Love”) |
4:29 |
8. |
“Diamant” (“Diamond”) |
2:34 |
9. |
“Weit weg” (“Far Away”) |
4:20 |
10. |
“Tattoo” |
4:11 |
11. |
“Hallomann” (“Helloman” / “Announcer”) |
4:11 |
Total length: |
46:20 |
|
