Rammstein – Rammstein

A flamboyant mess of electronica meets heavy metal...

A decade sinceLibee Ist Fur Alle Da’, Rammstein have resurrected to bring us their seventh studio album. And boy is it the record we’ve all been waiting for.

Opening with gothic electronics is ‘Deutschland’ with a distinct sense of patriotism, immediately setting the album’s tone with its militant looping tabs and piercing synths. Although renowned for their heavy metal tracks, ‘Du Hast’, ‘Fuhre Mich’ and album opener, ‘Deutschland,’ have an almost glitch-pop sound, the blistering, enchanting tone of Till Lindemann (as usual) darkens the aesthetic, but vocally, brings a sadness as he chants: “Germany my heart is on fire.”  

Once again the German six-piece remind us they never stray far from their effortlessly timeless sound. Opening with a daunting choir of opera singers, ‘Zeig Dich’, evokes a darker, heavier and, better yet, spookier compared with the last few tracks. The ride-along vocal dynamic, alongside progressive instrumentation, is a standout appearance as the album’s third instalment.

Following is explosive dance fused, ‘Auslander’. Infectiously arranged with drum heavy instrumentation and very few lyrics, this cut slices electronic with industrial metal.

Delicate with airy guitar work and chilling whispers, ’puppe’ at first listen is simple and nonchalant, but kicks up a fuss at the chorus. Pounding vicious, hellish vocals – from nonchalant to industrial rock – the metallic clang experiments with a slightly more pop weld of Einstürzende Neubauten.

Standing as the album’s most sombre track, ‘DiamanT’ softly weaves angelic string work with mesmerising  harmonies. Short but sweet, this piece marks a lighthearted statement as frontman Till effortlessly serenades us as he sings, “Du bish so schon, so wunderscho” – “You’re so beautiful, so beautiful.” Later repeating, “Wien ein diamant” (“like a diamond”), this track falls like an effortless lullaby, or possibly the musical sonnet we’ve each wanted.

Splashing industrial synth waves feature on the ironically titled ‘Weit Weg,’ (Far Away), it’s undeniable this song has an extraterrestrial touch to it. Flowing at a sturdier pace, this track judders a build up of guitar and drum work and is later greeted with warped sound effects. The bold spoken word delivery is a theme running through their career, and it’s something they’ve once again splashed into this album.

 Concluding with prominent bass wobbles,  ‘Hollowmann,’ places last on the track list. Mystical, with its doom and gloom tendencies of thrilling background harmonies and psychedelic guitar work, the ‘until next time’ effect creates the atmosphere of the end credits at a movie.

A decade later and Rammstein are back, reigniting that old fire, swooping us up in their latest journey. And we sure as hell are happy to ride along.


Words: Laviea Thomas

– – –

– – – 

Join us on Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks and a true view into our world as the fun and games unfold.

Buy Clash Magazine


Join the Clash mailing list for up to the minute music, fashion and film news.