Rammstein – Liebe ist für alle da

Today marks the 14th of October, 2009. Two days before the release (in some territories) of the next Rammstein album titled “Liebe ist für alle da”, which translates from their native German to “Love is there for all”.

Over the next two weeks, the album will be progressively released worldwide in a typical draconian music-industry staggered style. Of course, this, like most releases in entertainment these days, has been broken by the internet. Obviously someone along the distribution lines caught a hold of the album before it hit a box destined for HMV or akin music stores, and leaked it in glorious 320 bitrate fashion.

And so I’m here to do the dirty work, so you don’t have to. Before I continue I should point out that I will be purchasing it. I just can’t resist right now. Before listening I’m jittery like a 15 year old (that’s almost 10 years ago, scarily) queuing up to buy the new release from one of my favourite bands.

I’m going to write this post in order of my listen. So as each song ends I’ll write about it. Like live-blogging, but without letting you see me correct my spelling errors in real time!

1. “Rammlied” (Ramm-Song) 5:19

So, this song is not necessarily new. It was leaked via YouTube a few weeks ago as the purported single (this was then refuted by a video for Pussy).

It opens in very epic fashion. Till singing over orchestral chords and a choir. Then the guitar and double-bass kicks in to the Germanic roar of “RAMM-STEIN”. Brilliant.

Versus are pacey in a Du Hast way, it even features the europop stylings of the keyboards echoing what we had in the Sehnsucht era.

One fear of mine for this album was that the drumming was going to go very Slipknot. Too fast with too much double bass. Yes, talent should be shown off, but not to the detriment of the album or songs. This hasn’t been the case, luckily. Not so far, anyway.

This song has a lot of screaming the name of the band. Most bands can’t do this without sound pretentious… but it sits right at home with Rammstein. Because, in fairness, it is a cool name.

2. “Ich tu dir Weh” (I Hurt You) 5:02

This track opens with hypnotic keyboard stroking and heavy guitar power chording. Then the drums beat and the song kicks into a refreshingly well-timed piece of industrial metal. If you can’t imagine the band swinging their heads to this, then you’ve never bore witness to the band live (in real life, or via DVD).

Again this feels like class Rammstein. Epic chorus with creepy undertoned verses.

This will absolutely be “that song” people sing along to all over the world. Even Mexico, where apparently Rammstein are determined to record a live DVD. Hearing thousands of Mexicans singing in German in unison must be something…

3. “Waidmanns Heil” (Hunter’s Hail/Greeting) 3:33

Appropriately there’s a huge brass opening to this before the guitars slide into some heavy riffing.

The verses have a heavy emphasis on the bass guitar, with absolutely no “normal” guitars until a quiet break comes in, and then it blasts out again with Till making use of his guttural vocal gymnastics.

Of course this one will probably pick up some slack from Americans who’ll read into the “Waid-manns, Heil Heil” lyric stylings as some sort of nazi propoghanda. Rammstein are not proponents of the aryn race.

4. “Haifisch” (Shark) 3:45

This is old school to the max. Europop synth styles with classy drumming at the beginning. It’s very much like Herzeleid era stuff here. When the guitars kick in it’s uber catchy.

5. “B********” (Bückstabü) 4:15

The first 5 seconds of this track can only be described as dirty. I’ve no idea what Bückstabü means, nor does Babelfish. Hit up the comments if you’re a German and know.

This song is very heavy and taps into Rammstein’s S&M roots very deeply.

6. “Frühling in Paris” (Springtime in Paris) 4:45

Acoustic tracks are a new venture for this band. The first one appearing on the last album, called “Los” (Go). This one is like a strange Rammstein-y version of a love song. “Je regrette rien” (I regret nothing) appears too, which is interesting…. because it’s French. Most Irish school-going people should know that!

The song eventually comes out of it’s acoustic-ness and blasts into an epic, sweeping track. The addition of the French language is great because, without looking up babel fish, I can impress you. Admit it, you are impressed, aren’t you?

7. “Wiener Blut” (Viennese Blood) 3:53

This song is going to be a strange one. I would recommend getting translations as they appear online (they will differ as anyone with another language will tell you there’s no such thing as a straight translation). Why? Well, this one is about Joseph Fritzl.

It begins like a grammaphone recording of some nice beautiful classical music before rising it’s production to modern standards. Static is heard in the background while Till says “Come with me…”. Yes, it does get very creepy. Till talking about going to paradise and what not while creepy sounds appear behind him, and then the song hits into the heaviest song so far on the album. Till is literally screaming over the guitars while the drums work overtime to keep up.

8. “Pussy” 3:57

Pussy is the first single from the album, features English lyrics and a video that I cannot post here without being a porn site. And no, I’m not exaggerating. This song is dirty, filthy, sexy trash talk, and the video goes along with it. In my opinion it’s the worst track on the album but it does the job well.

9. “Liebe ist für alle da” (Love Is There for Everyone) 3:26

The title track is very metal, even by Rammstein’s standards. It feels as much like Metallica then Rammstein. That is, of course, until the orchestral keyboard bits pop in.

It’s quite fast, break-beat ish and features a lot of speed-stroking on the guitars. Then, in signature style, a drop-style chord progression for the chrous.

10. “Mehr” (More) 4:09

This opens in semi-techno style. It’s really catchy and good. Has acoustic guitars ringing through it too. This manages to blend the harsh electronica sounds with soft acoustic guitar strings and flickering drum symbols before blasting into the heavy-as-fook chorus riffs. This one will be familiar to fans as having a 30 second leak a few weeks ago too.

11. “Roter Sand” (Red Sand)

If ever there was a world war 2 song, this was it. It opens with the whistle of a man and then bumps into a strange echoing distorted acoustic guitar. It blends out with a choir of women vocalising before picking up with war drums and more orchestral brass.

It’s a very brilliant way to wrap up yet another fantastic release from one of my favourite bands and one of the true staples of European music. Now, everyone drop to your knee’s and pray to god that we get a tour date here in Ireland!