#lyrics: ''mutter'' by rammstein

[anatomy--of--melancholy]

sie ist der hellste Stern von allen…

[endlich-allein]

I KNOW that you are a specifically Till acc, but do you have any facts on his bandmates? (If not That’s okay love your blog)

Hi ! Thanks for the ask, I tried to gather all the facts I could think of but I probably forgot quite a few (feel free to add to this list if you feel like it !) :

— Richard did a lot of odd jobs when he was young (shoe salesman, cook, etc.) but the job that made the biggest impression on him was as a cleaner for an old lady who had stuffed her poodles. She made him run a feather duster over her poodles ;

— Richard bought his first album in Hungary for 200 marks. It was the album Plastic Surgery Disaster by Dead Kennedys ;

— Rammstein and Depeche Mode got into a tomato fight in the backstage at the 2001 MTV Europe Music Awards.

— Richard bought his first guitar at the age of 16 in Czechoslovakia, not because he knew how to play, but to sell it back in Germany. On the road, he (and some friends) stopped at a campsite and a girl insisted he play, so he strummed the strings. And it was because girls liked guitarists that he became one himself ;

— Paul said that every time Till went to Leipzig, he went to his grandmother's and ate pasta ;

— Paul thinks he might have been a psychic or psychiatrist, Schneider thinks he might have been a computer scientist and Ollie a masson ;

— Paul thinks that if the band were stranded on a desert island, they'd eat Till first, but they'd have to wait until he fell asleep because he probably wouldn't let them. And the worst thing is that Till agrees with it because, when asked the same question, he replied that the group would eat him first because he has more meat than the others...;

— Flake and Paul, along with Feeling B and others, turned Till's house upside down, smashed tables, turned up the music and cooked fried eggs with honey because they couldn't get their hands on the butter ;

— Paul says that if he had to invent an object, it would be a plate that keeps the heat in, because according to him, the dishes are always too hot, so he waits and then they quickly become too cold ;

— Richard and Flake, during the recording of Reise Reise, got into a verbal joust : Richard said that Flake's wife "sang like a cuckoo", and Flake informed Richard that nobody cared about his children's talents ;

— Richard grabbed Till's collar and slammed him against a wall because Till made a joke about Richard's unconditional love of Donald Duck movies. Till repeated this in an interview (with Richard and Ollie) in 2006, to which Richard replied: "Idiot ! I’m a fan of Italian realism from the early 60′s. Alberto Sordi, Fellini... I’m not a snob but unlike these gloomy guys I know cinema well." ;

— Flake told Paul he couldn't be racist because he didn't like anybody ;

— Schneider and Till have gardening competitions, but Till is jealous because Schneider always has the most beautiful orchids ;

— Till sent a huge box of candy with the note "Enjoy the fucking candy" to Chris Martin (Coldplay) to thank him for helping him with a sore neck. Since then, they've been friends, and Chris dedicated a Coldplay song to Till and his children during a concert ;

— Schneider's mother was angry with him because of the Mutter song, but he didn't understand why, he just told her that he didn't write the lyrics ;

— Ollie accidentally hit Till on the head with his bass, Till had to leave the stage and be bandaged, he ended the concert with a huge bandage ;

— Ollie once stole something. It only happened once. It was a little wooden boat, and when he got home he felt so guilty that he confessed the whole thing to his mother ;

[marimayscarlett]

They all said the band could continue depending of which member would leave. Rammstein sound is Paul, Flake and Oliver first, lyrics and voice, Till. I believe if Schneider or Richard left, the band could continue with new members. Most famous riffs are from Paul after all, and the slow songs are from Oliver. Many guitarists could do as much as a good job as Richard and I doubt the majority of the public would notice outside the fandom. From Flake himself : depend on who's leaving.

Hi 👋 (

Wow, ok, there's a lot to unpack here. I'll try to work my way through it. (This is long, and I don't expect anyone to really read this.) I have to admit, I was a little taken aback when I opened this ask. In my opinion, it is strange and quite presumptuous for an outsider and a person who has no part whatsoever in the creative process of this band, to presume to be able to assess who in the band is dispensable. Following the logic of your thought process, in the sense of "many guitarists could do as much as a good job as Richard", you are discrediting any creative input and output this man has ever done in Rammstein, Emigrate and any band he was in before. That seems pretty unfair to the founder of a band you seem to like. (And interesting that once again the criticism is aimed at Richard - this man gets that from fans quite often...). Schneider also seems to find no mercy in your eyes and seems replaceable to you.

What I'm missing in your overall thought process, which looks at the matter from a purely technical point of view, is the interpersonal relationship between the members, the creative influence on one another, the support, the exchange of ideas between them which brings up new ones - all these factors which play a role in making the music what it ist.

I also find the statement that the quiet songs are from member x and the riffs from member Y too simple. Rammstein always emphasize how much of a democratic system they are, it's well known how many influences go into the songs. Sure, many components of the songs come from ideas of the individual members, and yet I think your statement is too short-sighted, that's not how songwriting works at Rammstein (something Richard also had to learn). A few examples that show how diverse the influences in the creative processes of the songs are:

In the song 'Engel', a riff from the song 'Be up to know' by Orgasm Death Gimmick is used - Richard's old band.

The song 'Mutter' dates way back - a first instrumental version was found on a demo tape by Richard from 1994. He himself mentioned he wrote this song for a wedding.

The song 'Heirate mich' reuses a riff from the song 'Klaus Kinski' by the Magdalene Keibel Combo, Flake's and Paul's old duo. Another riff which dates back to this Combo is used in 'Herzeleid'.

A little example for the band's creative instrumental process in a song: In 'Los', Till plays the harmonica, Olli couldn't stand it, Paul liked it and fought hard for it. Schneider contributed a lot to the aesthetic of the song with his blues guitar skill.

For 'Du hast', Flake and Richard largely contributed - the song is build on synth sequence by Flake and a riff by Richard.

The musical idea from 'Mein Teil' comes from Paul.

'Wilder Wein' was written musically and lyrically by Till (to impress the ladies).

A big joint project of the band was 'Deutschland', based on a demo tape by Richard, who was thinking of his family when writing the song.

While this wonderful post (@namelessrammgirl sure has a way with words 🤍) today listed what each band member contributes to the band, I'd also like to let the guys speak for themselves on the subject of the band ending and leaving - as we all know this has been a recurring theme:

Richard doesn't totally believe that the band can function if one member leaves. However, he says that looking back at music history, something like this always works, but the old chemistry is no longer there. He is very open about the fact that he would be ready for something other than Rammstein and would try out new things. He also talks about a rule within the group that if one of them quits, they continue to participate financially - so the subject of leaving (not only for Richard, who has often entertained this idea) was probably a general topic in the band. [source]

"As long as we feel that the ship is still sailing and the port has not yet been reached, we will continue. But if we were to enter a port, I wouldn't be sad." This statement comes from Paul. "We haven't talked specifically about an end yet, but we are aware of the fact that Rammstein is a finite story, even if there is no plan for it yet." This statement is from Schneider. [source] Both make it clear that Rammstein will come to an end for them at some point, Paul also mentions in this interview that the untitled album contains "truly a lot of blood, sweat and tears, anger and stress", Richard mentions that his ideas, even though he got on really well with Paul, were criticized a lot - as you can see, things are always bubbling in this band. It's not a question of who can do what technically well, there's a lot of interpersonal stuff at play here, which makes the band uniquely successful and the work in it uniquely difficult.

So while we shouldn't look at everything through rose-tinted glasses, the potential issue of 'who leaves the band and how do they move on afterwards' should absolutely and only be a matter for the people involved. We as fans should, in fact, be happy and grateful that after 30 years, internal conflicts, accusations and a terrible year 2023, this band still manages to work together, give us tours and unique music. It's always easy to moan and make suggestions for improvement - but in my opinion, it's not at all helpful.

[derwahnsinn]

31 Days Rammstein Challenge - Day 30: Favourite Ship

When someone asks me about what my favourite Rammstein ship is, my standard answer is friendship. For me, that's one of the things that make Rammstein so special. They have stuck together for not just the duration of the band, but from long before that.

The majority of the band members have played in Rammstein for more than half of their lives. Some of them have played together in bands for close to 40 years. And still, they seem to have enjoy each other's company and have fun together on stage.

To illustrate this, I have picked the five photos Richard Z. Kruspe posted on his Instagram last June, with the following captions (inspired by Placebo's song Pure Morning):

Oliver: A friend in need Schneider: A friend indeed Paul: A friend so sweet Flake: A friend down the street Till: A friend who bleeds

As Flake Lorenz told Strassenfeger: «I see us as friends who have known each other for a very long time. Who have experienced a lot together. And who will definitely get along very well for quite a while.»

--

Day 1: Favourite Song Day 2: Favourite Era Day 3: Favourite Single Day 4: Favourite Album Day 5: Favourite Music Video Day 6: Favourite Member Day 7: Favourite Lyrics Day 8: Favourite B-side or Unreleased Track Day 9: Favourite Remix Day 10: Favourite Live Photo Day 11: Favourite Live Video Day 12: Favourite Making of Day 13: Favourite Picture Official or Unofficial Day 14: Favourite Vocals Day 15: Favourite Bass, Guitar, Drums, or Keyboard Work Day 16: Favourite Outfit Day 17: Favourite Live Moment Day 18: Favourite Pyro Effect Day 19: Favourite Herzeleid Song Day 20: Favourite Sehnsucht Song Day 21: Favourite Mutter Song Day 22: Favourite Reise, Reise Song Day 23: Favourite Rosenrot Song Day 24: Favourite LIFAD Song Day 25: Favourite Untitled Song Day 26: Favourite Zeit Song Day 27: Favourite Pre-Rammstein Photo Day 28: Favourite Solo Project Day 29: Favourite Merch Stuff

[arealtrashact]

Hi! Long-time follower and huge fan of your work here. Your art is just amazing, and I'm so glad you're posting for on tumblr again.

I wanted to ask something. I've noticed that you're a Rammstein fan and have posted some of their lyrics alongside your art before (the Homelander/Mutter duo was genius). Along with your 'Mann tracht un Gott lacht' tag, I was wondering: how familar are you with the German (or Yiddish) language? Do you speak it? This is just coming from me, who grew up in a German-speaking household, being surprised to see any German/Germanic on my dash in the first place, lol.

Thanks for sticking around ! I'm glad to be back ; Tumblr has not lost its charm in my absence. I hope to stay for the long haul this time.

To answer : Despite having bilingual and quadrilingual parents, the only language I speak is 'Murican.

I am simply a longtime Rammstein fan ( since the fourth grade ). My understanding of German starts and ends with Till's purred obscenities. Heaven forbid I ever go to Germany, the only phrases I'll have in my pocket will be flowery tidbits like Stacheldraht im Harnkanal.

[herrlindemann]

Metal Hammer - February 2002, part 2, interview with Paul and Schneider

Thanks to ramjohn for the scans!

Rammstein are without a doubt currently the biggest German rock band and at the same time the biggest export hit when it comes to hard music. 2001 was the year of the Berliners: release of the third album MUTTER, US, Germany and Europe tour and the publication of the 'Rammstein' book by Gert Hof. Before the Freiburg concert in December, there was a lot to discuss with guitarist Paul Landers and drummer Christoph Schneider.

The intensive tour, which took you through the USA, Australia and Japan to Russia and then all over Europe, is coming to an end. How did you cope with it?

Christoph Schneider: We've been to America twice, and one of the two tours was quite exhausting for us. It was long and just didn't want to end. In between we came home again, recovered, and now I have to say that the European tour is a lot of fun.

Why is Freiburg the only one Germany concert on your route?

Paul Landers: The promoter knew that we also want to play in Germany if the tour goes past it. In Freiburg, however, the fans see the 'Europe' version of our show - not what they are used to. It's a slimmed-down production because we can't be on the road with eight trucks and set up the entire structure due to the long distances. Think of it as a kind of special concert.

How difficult is it to remember the many concerts of this year's tour?

Christoph: I always remember the places when I go there a second time. Paul is different: He mostly remembers the food of the respective region. For me it's more the people or small experiences.

Paul: The concerts that you don't forget are important. Nobody manages to remember 150 concerts - it doesn't have to be. We always sound the alarm, and even when things get a little quieter in the band, the audience doesn't even notice.

Because you've played in many cities, you have the best opportunity for comparison in terms of the audience and their respective reactions. Can you name differences?

Paul: There are two different views. First: the evening performance. Second: the trappings. The environment is much more important than you think. In contrast to the US tour, the shows in Europe were a piece of cake. The concert tour through America seems more like a galley voyage to me. One city is like the other, only the big cities of New York, San Francisco or Los Angeles are the highlights. The rest is almost like an oversized Neubrandenburg - a snoring town without character. The whole thing then degenerates into hard work. The fans are usually as spirited as the climate, but the air burned at the concert. Moscow was also amazing - in general, things are always very hot in the Eastern bloc. Overall, however, I have to admit that certain character traits are the same among Rammstein audiences around the world.

What do you think when Russian or American fans sing along to the German lyrics?

Christoph: That's the coolest thing of all, because right at that second I feel validated for myself and my work. Transporting German beyond national borders and encouraging other people to sing in our mother tongue - that's a special feeling.

Are you worried about how the foreign fans will interpret the lyrics?

Paul: I don't know how good your English was as a kid - mine was lousy. That's why I was sorely disappointed when I found out what 'Smoke On The Water' really means. For me it had something to do with smoking and cigarettes. And that's how people feel about us. Fred Durst said that for 'Sehnsucht' he always understood 'Chainsaw'. Back then at Kraftwerk, instead of ‘driving, driving, driving on the Autobahn’, people understood ‘fun, fun, fun’. They knew ‘Autobahn’. There are funny mistranslations. A song like 'Links 2 3 4' is also difficult to translate, but the fans know that. The only thing that really matters is that the music and the lyrics go well together.

Were you welcomed with open arms everywhere on the US tour? Or were you met with a lack of understanding or did you even have trouble with the authorities?

Christoph: There were more restrictions on our pyro show. Also Christian demonstrators who - like Marilyn Manson - called us devils and blasphemers. Even in London there was such a rally car in front of the door, and the association propagated that one should not get involved with Satan - that is, us.

Paul: When we perform outside of Germany, the fans encourage us to keep singing in German and not start with the English language.

But you tried the two English versions of 'Engel' and 'Du hast'...

Paul: ...and failed miserably. That wasn't because of the English lyrics, but because the songs were written in German. If we were to write a song in English that wasn't German from the start, it could be good. We have nothing against globalization - at least not in the Rammstein context.

Christoph: It worked with 'Stripped' - it doesn't sound stupid when Till sings in English, but it has to be good English lyrics.

Paul: We're lucky that German is such a cool language for evil music. If I were English or Belgian, I would definitely sing in German. When it comes to bad, hard music, nothing beats the German language. English has too much soul, it sounds way too nice. They can turn on a eater or yell around... That leads to the problem that the English have with us in particular. When people hear German texts there, they immediately stand to attention and think that bombs are being thrown at them. We first had to explain that we don't want to start a war, we just want to sing in German. The English still associate the Germans with the bombs that fell on London in World War II - after that they heard nothing before us. Perhaps a Mercedes drives through London from time to time, but other than that, German has negative connotations. Rammstein try to transform the negative image of the Germans in the world into a positive one. The Reichstag also had a negative image. Since Christo covered it, you think differently about it - that's a new component. In a similar way we try to communicate that being German can also mean something good.

Do you see this as a challenge or as a tedious, tiring task?

Christoph: Even if that may sound pompous: I believe that we are pursuing foreign policy. Later, after our death, we will be written with honor in the history books. (Everybody is laughing)

Paul: We consistently get positive feedback on our band because the world is not used to something good in the musical field coming from Germany. That happens far too seldom.

Christoph: In Russia, the children learn German with our texts, and we were very happy about that.

So you had to grow into the task of being an ambassador, because you couldn't have known at the beginning of the band's career that it would take on such proportions, right?

Paul: No, no one could have guessed that we would sell even one record across national borders.

Christoph: In many areas, such as the American Midwest, people have heard nothing else about Germany than Rammstein...

Paul: … BMW also know a few…

What happens after the extended tour?

Christoph: We will take a four to six month break and do a lot with our friends and families during this break. In the summer of 2002, festival appearances are planned - the big European festivals.

Paul: Then money will be collected. Solid. The European tour and another tour of Germany will follow in autumn. Then we want to venture into the next record with a breath of fresh air. We hope that the whole thing will happen a little faster, but the work on MUTTER and the lengthy live activities showed us that we have grown together as a real band more than ever. We come to Stockholm and 12,000 people want to see us, it's unbelievable. It's just us...

Do you fight on tour?

Christopher: Very often! We never agree and that hampers the flow of the band. Democracy within the structure has also reached a limit where it no longer works. Everyone insists on their point of view...

Who then takes the initiative?

Paul: Democracy has not given way to a dictatorship. In the past seven years, we've learned to argue in ways that don't touch the substance. Schneider and I used to almost cut our throats. On the other hand, arguing makes you tired, and the consequence is that not everyone takes care of everything anymore. For example, I stayed completely out of the book. In the coming break we will recharge our batteries so that afterwards we can fight again with fun.

Aren't you afraid of falling into a deep black hole after the band's intensive life together at the end of the tour?

Christoph: Small children and women are waiting for us at home. It's pretty quick to get used to it again...

Paul: Wipe your ass and change your diaper, then you'll feel at home again. On tour you have a kind of royal life, it spoils the character. We're fighting to keep from going insane. But sometimes I enjoy not having to do the dishes or take out the garbage. The food is introduced to me orally, I hardly need to chew anymore...

How did you get along with Slipknot on the US tour?

Paul: In the beginning we had a lot of prejudices and thought they were stupid.

Christoph: It was very inspiring. I can understand that the kids love this band.

Paul: Slipknot stand for a certain quality. In the States, we've also been lumped into the category of bands that the kids listen to but the parents hate. In the beginning we felt like well-to-do old gentlemen and had a little Scorpions syndrome. Slipknot enjoy the same status in America that we had in Germany three or four years ago. The band polarizes strongly and is provocative. We have put our provocative phase behind us. Everyone knows who can expect what from Rammstein. I don't want to use the word 'solid', but you can't believably play the fright of the citizens for seven years.

You find out for yourself that the fans are getting used to Rammstein more and more and that events that would have caused a stir a few years ago are now part of the agenda. Is the consequence that you constantly question yourself and your actions so as not to stand still?

Paul: For as long as we have existed, we have tried not to repeat ourselves. Especially in Germany, we entered the show business at a high level, so that we had to spend enormous sums on the last Germany tour to always go one step further. The fans are also worth that to us.

Christoph: People don't come that often anymore, they keep a certain distance. When we go on tour again, we can set ourselves on fire - because that's what people want to see.

At some point, however, the show can no longer be improved.

Christoph: Yes, a lot is a question of ideas. Going new ways, incorporating new elements is better than multiplying what you are currently doing.

Paul: Ten flames are no better than one - we quickly realized that. A few simple lamps as stage decorations are enough for a good show.

Do you still enjoy performing live?

Paul (laughs): Yes, with 200 concerts a year, that's unavoidable. But we always try to put the unfunny concerts in places where nobody notices.

Christoph: I always tell myself it's an honor to play for so many people every night. I would envy any other band for this state of affairs.

Rammstein as an art form, as a phenomenon, is limited. What could a logical continuation of the band look like?

Paul: We want to dissolve the Goethe Institute and rename it the Rammstein Institute... (laughs)

Christoph: We are maybe just as limited as Kiss. I don't want to pat myself on the back, but we've already achieved a lot. In my opinion, success abroad is the greatest success.

Paul: We do what we want: 'our' music - not because we changed, but because we didn't change.

Could you ever go back to normal jobs? And if so, which ones would they be?

Christopher: No. Because you don't go in one direction to turn back. You go somewhere else.

Maybe someday you will be forced to do it?

Paul: We'd rather stop. We will not go back to the jobs we once learned and grow telephones for strangers. What job an aging rock star has, we don't think about it. All I know is that I won't start with any record company. That's disgusting. I don't want to have anything to do with music-related activities, because then I would always be chatted up on Rammstein. Maybe later I will compose music for films or advertising with Schneider...

So you're not worried when it comes to future issues?

Christoph: Life always takes care of you, you don't have to worry. The new signposts are coming, you just have to learn the ability to see them.

Paul: So far we've been great. The trouble only started when the money came in abundance. We had to learn to remain carefree despite this huge chunk, this lottery win. We then quickly put it on pointlessly, wasted everything, and now we can be more carefree again.

Christoph: You have more worries with money than without.

With Gert Hof's book, which was published in November 2001, you give an intimate insight into your private life for the first time, in that you have been photographed with friends and relatives, among other things. Why?

(Silence)

Christoph: The book should have a bit more colour, and we thought it would be nicer not just to use press photos. For one or the other, it may be interesting to see what Rammstein looks like privately.

Pau: But the amount of privacy is still very low.

The people with whom you can be seen in the pictures, are these the people who are closest to you?

Christoph: Yes, our mothers, our wives, girlfriends, children...

Paul: You can't see all of them, some are standing and even closer, but they'll be in the next book.

I can see you only want to sell books.

Christoph: It was very difficult to find a sensible concept for a Rammstein book. The result is a mix of photos, not too much text, a bit of band history, personal thoughts - I like that.

Paul: I would have liked some explanations about the photos, but I was pretty much alone with that opinion. With Oliver you think what kind of girlfriend he has, but it's his mother. The band wanted the photos to stand alone, leaving fans guessing who it is.

Can you still call yourself spontaneous? After all, the Rammstein entourage is a heavyweight, sluggish monster that, due to its marketing potential, cannot allow any wrong steps.

Christoph: You're right: the bigger, the more cumbersome. Rammstein is an oversized aircraft that needs a huge runway. Before a Rammstein concert can take place, a lot has to be prepared. We can't just take the bus and play.

Paul: Even if we want to add a new song to the program, it takes three to four shows. We submit an application to Schneider, which he ignores, then hesitates at first, but eventually changes it.

Which fans do you prefer? Those who like you because of the music, or those who just like Rammstein's image? Or don't you see any difference?

Paul: We can't choose who we like. As a band you have all the fans to find. this is your job. Anything else would be arrogant. The fans are allowed to say who they think is good and who is shit in the band, but we can't. We play for everyone.

Does it also cause problems that you as Rammstein always have to maintain the image of the tough, grim men and aren't allowed to cry?

Christoph: If we weren't having fun anymore, we would change it. The overly masculine is just a game, we live out a side that fits the music.

Paul: Before Rammstein I played in a fun punk band for ten years and it was a lot harder. Because as a fun punk - Die Ärzte can confirm that - you always have to be funny. The fans throw a beer over your head and you have to come across as nice. At Rammstein I can be 99 percent what I want. Being fierce is easy, it needs no pretense. Even when you're in a bad mood, it's totally awesome. If everything pisses me off, it promotes the show 100 percent. I can stand there like a pawn in a chess game throughout the concert and don't have to bat an eyelash - but the concert is still great.

Christoph: That's why the band is so successful. We convey what we do honestly. I'd like to talk to the doctors and see if they're starting to get sick of always acting funny.

Do you think honesty pays off?

Paul: We used to see it as a weakness that we were so normal in interviews and never tinkered with the image, but always said what we thought.

Christoph: There was a phase when we weren't washed up with the journalists. When the accusations came that we were politically right-wing, they unsettled us and we didn't react properly.

Paul: We even let ourselves be denied because we had no idea. We made up stories and didn't even know what we were talking about.

You must have broken something with that.

Christoph: No one wanted to talk about music, we were constantly being questioned about politics, which really annoyed us.

Can Till actually get carried away with interviews?

Paul: He never has, only in exceptional cases.

Christoph: Many people want to talk to Till because they expect to find out the truth about Rammstein. Actually, he doesn't want to talk, and it wouldn't be good at all because he doesn't have the experience to do so, because he always tries to give official answers...

Paul: He doesn't have the necessary routine.

I rather think that a lot of people have respect or even fear for Till because he embodies the uncouth, coarse block.

Christoph: That's a good thing, we're happy to leave the picture as it is. Till will definitely give interviews at some point, maybe after Rammstein, but we don't want to push him at the moment.

Do you think about solo projects?

Christoph: From time to time, but because we've been together for so long, I can't imagine starting in another band again.

Paul: If I made other music, it would be best if all Rammsteiners were involved. You see it with other bands: When the artists record solo records, the result is usually not nice.

Christoph: If you spend your whole life in a team, however, at some point it's time to make your own borderline experiences.

[audipiu]

initial Adieu mv observations:

replete with imagery that references earlier discography (Mutter 22 on the vault, the enemy soldiers perhaps Deutschland, Seeman haircuts, the cage grate/lattice MHB but also I think Mutter, Till's mohawk could be included here as a nod to an earlier style)

the premise of cloning is interesting because this points at inauthenticity and manufacture, a carefully crafted image and the other

hence, my initial thought was this is about the killing of the (previous) self, this is what the clones could stand for. Additionally, Rammstein are depicted as going to 'war', this could be a stand-in/proxy for inner struggle.

The lyrics of Adieu are complimented by the mv in that the video juxtaposes company and isolation. As the group sees the clones there's an emphasis on shots where they face the situation & grieve together (e.g. Richard's (?) hand on Till's shoulder)

However, at the end of the video when the credits roll, each member of the band is shot alone in death, like the lyrics go, which is a nice touch imo

The final shots also make me think that it is possible to understand the credit roll footage as the real outcome, essentially retconning what came before it (the clone burning etc)

The red laser also extinguishes/fades at the end, which made me think of how a soul is sometimes said to fade away/extinguish/whatever this would be in english lol and offers some support for this reading

This imo points to the fact that no matter how stark a divide one wants to make with the past and with previous versions of oneself, truly killing that history is never possible and it will be an effort doomed to fail because we are the product of our past experiences

this is also why it would make sense to include imagery pointing to Mutter (the album & video) as well as Seeman because these are the result of processes that were either very difficult or that Rammstein have been vocal about not liking

In the same vein, I could go on a limb and say the crosses etc religious imagery could be taken as a Zeig Dich reference but this is probably going too far

The religious imagery is there tho and I'm not sure what it means exactly, it could ofc denote something is holy, but it's interesting that it's the present self rather than the past

The Paris Opera House is a gorgeous setting and I do think it was very intentional but have to figure out what exactly it symbolizes here. Perhaps tradition.

Also the red laser seems to act as a connector or red thread of some sort, and I get the feeling that it is connected with the idea of time and continuity

in the same vein it's interesting that it's included in multiple shots as a connector or perhaps red herring, not sure which reading makes most sense

Based on all of this, my initial reading is to treat it as self-reflection, mourning for the past self but also no longer one and the same with that self. I'm sure there are other readings and things I've missed so who knows what it's really about. Then again, authorial intent means nothing to me

[notafraidofredyellowandblue]

I've seen quite a few times that the Mutter era was bad but what exactly was going on there? What caused it and stuff

Hi! I'm sure someone else has already posted about this earlier, but i can't really seem to find it, so i'm giving you my view of things here.

(Over the years (especially between let's say 2002 and 2010) several of the Rammstein members talked about it in interviews and there are several videos and transcripts out there.)

What imo basically happened that while making and recording the Mutter album, the Rammstein democracy was stretched to it's limit. And it all boiled down to Richard's ego and feeling of self-importance becoming too big and he tried to control the band. He insisted that things were done the way he wanted it, wasn't open to critique by the others, wasn't willing to change music he wrote for the songs. A massive burst of workaholicness, fueled by an equally massive amount of cocaine didn't help either. It was his way or the high way.

Initially when the Mutter album came out (to many, including me, one of their best ever), these things weren't immediately clear to the outside world, but over time, it became clear from veiled (and eventually not so veiled) comments, that the atmosphere between the bandmembers was at an all time low, especially (but not just) between the guitarists there was no love lost. Although in some interviews there were hints that it wasn't just as black and white as Richard was wrong and all the others were right, and Paul i think also took some of the blame in saying that he wasn't always the most cooperative either, eventually over time also Richard himself acknowledged that the way he acted was the trigger for the fall-out and arguments.

In the Rammstein democracy it is almost never the case that it's always the same people on one side of the argument and the same others on the other side, the factions often shift depending on the topic at hand. But in the Mutter era conflict it is generally believed that only Till was still on speaking terms with Richard, and was likely the one who kept the band together. Till is not imo one to like heated discussions, and Till and Richard go way back, both professionally and in private. Paul is definitely on the other side of the argument, despite his sunny sweet easygoing guy image, Paul is a very determined person, no pushover and always ready to speak his mind and fight for his opinion. Schneider is generally believed to be on Paul's side during the Mutter years, although he is also known to be a mediator between the two guitarists when things overheat again in later years.

The argument had long shadows. With every further album the others feared Richard would start acting out again, and Richard feared the discussions and critique of the others. Some stated in interviews years later that they would out-veto or throw out something Richard made, just because it was Richard's idea. Not a healthy reaction maybe, but an understandable one. Richard often turned to Till and played the music he came up with first to him, knowing that if Till got inspired by a piece, and came up with a lyric to it, he would have a better chance of getting his songs past the Rammstein quality board. Powerplay really, but it is what it is, and the way it worked for years after.

They all lament after each album how difficult it is to work with the Rammstein democracy, but none more than Richard who after every single album stated in interviews that this would definitely be the last Rammstein album, because it was just exhausting. Fortunately he always changed his mind (that's the thing with Richard, he usually means it when he says it, but changes his mind pretty quickly), and there was always another album.

It wasn't until much later, i think in 2017 or 2018 that Paul mentioned in an interview the 'great chemistry right now and we love eachother more than ever', and the fact that in 2019 the Untitled album was released was a surprise to many, because many fans thought a new album would never happen. Ofcourse Richard still stated in some interviews that it would be the last, but traditionally we fans knew to ignore that and just rolled our eyes, and indeed by now we have another album, Zeit. Funny enough, of all the interviews that i read with Richard after Zeit, he didn't mention it would be the 'last' Rammstein album...and i've read many of them 🌺

The Mutter years, and Richard's huge creative drive to come up with new music, imo lead him to create Emigrate. In Emigrate it's all Richard's way, he decides everything, he chooses with who he wants to work. It also gave him a chance to work with other musicians he admired like Lemmy, but the urge to create and not be reigned in is at the basis of Emigrate. The others in Rammstein at first were weary; was Richard starting his own band and leaving Rammstein, especially when Richard wanted (and did) to invite Till to join on a few songs. But in the end it did help to balance things out. Richard gets his way in Emigrate and is more cooperative in Rammstein (still not an easy guy, but they manage it better now). Flake mentioned in one of his podcasts Richard being so prolific, coming up with so many ideas, it was just too much for one band; so i wouldn't be surprised if the others eventually felt the same.

again, my 2 cts, for what it's worth

[takami-takami]

Alright, hear me out... Yandere! + ScentKink!Hawks as the song "Du riechst so gut" by Rammstein...

OH MY FUCKING GOD.

I love this song but I never looked up the english translation for it. I have all of Mutter (album)'s english lyrics memorized but not the rest of their songs. and I just looked it up and. Oh my god. Hello?? HELLO??!??!?!?

[golvio]

I just recently replayed Wind Waker to get back into the Legend of Zelda spirit, and am now on a Ganondorf kick; what are your big Ganondorf Songs (aka songs that remind you a lot of him)? The only one I've really come across so far is "Waltz of Malice" by Kikuo

This one took me a little while to answer because it required me to go back through my archives a little to refresh my memory.

These are a couple of songs from my big ol' character playlist that I don't think I've specifically called out in my previous playlist posts. As with most character playlists, these don't always have a 1:1 meaning, but the general vibe matches how I interpret him.

Here are some, in no particular order:

Artificial Heart by Jonathan Coulton

Cleanse the Bloodlines by Unleash the Archers (Journey wide, they're spread across the land / they will hide, they know what I plan)

Kodokushi by Aesop Rock

Jumping Coffin by Aesop Rock

Draw by Elise Wattman

The Music Room by Raphael Benjamin Meyer

The Path to the Door by David Mason

The Laughingtrush by The Weather Factory (The Book of Hours demo has a lot of lovely tracks that I like to think could back Ganondorf going for a walk in the countryside)

Sun's Splendour by The Weather Factory ("Summer: Grail, with all her gifts")

What Now? by Mickymar Productions

Apollo and Marsyas: Overture by Mickymar Productions

Nemeses by Jonathan Coulton

I'm Gonna Win by Rob Cantor

Health Is A Currency by DEADLIFE

Belly of the Beast by Gazelle Twin

Mrs. Bluebeard by They Might Be Giants

River of Despair by Ridiculon

O Ruthless Great Divine Director by Lingua Ignota (Have they told you that I'll take you for everything you've got? / Ungoverned by any master / Unloved by any god / Have they told you that my tongue is alight with violet flame? / And every eye shall see me / Every voice shall speak my name)

Just Lingua Ignota in general, man, but particularly her album "Caligula," and "I Who Bend The Tall Grasses"

Tom the Diver by Petri Alanko

Wayward Sisters by Abel Korzeniowski

Come, Gentle Night by Abel Korzeniowski

"Vissi D'Arte" from Puccini's Tosca

The whole damn Lady Macbeth aria from Verdi's Macbeth, particularly "Vieni! T'affreta!" (I like to think this is what plays every time he picks some poor delicately-featured schmuck to be his lieutenant)

"Un bel di vedremo" from Puccini's Madama Butterfly (Waiting for that one dude who doesn't screw up and die horribly, because who says this guy can't have a sentimental side? Also, this is the aria they used as the backing track for "Don't Cry For Me, I'm Already Dead")

The Herminia Suite from Octopath Traveler

The Vide Suite from Octopath Traveler 2 (One of the few tenor performances that matched his vibe, to me)

Pillar of Souls by Sufjahn Stevens

A lot of Rammstein, particularly Ohne Dich, Mutter, Diamant, and a lot of stuff from "Reise Reise" and "Zeit"

The refrain from "Zick Zack," too. This is one of the songs where the lyrics/meaning as a whole doesn't really match him, but there's something of him in the idea of tearing yourself apart to put yourself back together in a shape you want. There was something about the way Cadence of Hyrule made it sound like his monster form was something he was actually actively pursuing since he was a little boy. I heard it a little bit in Beverly's monologue about her plastic surgeries (presented here as the ultimate culmination of her obsession with death and embalming, along with her cryogenic funeral parlor for celebrities) in the (admittedly NSFW-ish if your boss doesn't view life modeling and boob jokes as artistic) "Affairs of the Art." "You just gotta take control. It's your life. I mean, look at me! Check me out! I'm sculpting myself! My own body! I'm an exhibit, right? I'm a living gallery! My body is my art! Just go for it! What are you waiting for?" Here it's not the body as furniture for the patriarchy to judge as "valuable," but the body as a vehicle for pursuing one's dreams and obsessions, as Beverly came from a family of very likely autistic people who each devoted themselves to their life's passions, as eclectic and niche as they may be). It's like the principles of Moth and Forge, this wild yearning for transformation and the disciplined mettle and ingenuity to see it through, even if other people don't like the results and wish he'd change back into something more pretty or manageable.

This is about all I can muster for now, but I hope that's a good start and you find something you're looking for from it.

[endlich-allein]

Day 21 — Favorite Mutter Song

The album with only good songs is this one ! Mutter is Rammstein's most heterogeneous album in terms of quality. It is also one of the most authentic of the band, one of the most mature. Rammstein has entered a new dimension with this album. They prove the full extent of their talents and their musical wealth. The first six songs are hits and are still in high demand by fans today. By the way, Sonne was voted the fan favorite song.

My heart swings strongly between three songs : Mein Herz Brennt, Mutter and Nebel. I think I'll choose the latter.

Mein Herz Brennt and Mutter are two songs that marked me a lot, the first for the interpretation of Till and the videos, and the second for its theme. But if I choose Nebel, it's because it's a song that upsets me every time I listen to it. If it touches me so much, it is because it strongly reminds me of a traditional song sung in my native region. Not in terms of language, but the way it's performed and its lyrics are very close to traditional music where I'm from. This song takes me back to my origins, takes me back to my childhood, and I feel this song with a lot of nostalgia.

And then, there are these lyrics which are magnificent. It's a short but beautifully written song. The story of a tragic love with these three lines, dramatic, which totally moved me to tears :

Will sie ihm die Wahrheit sagen Doch ihre Worte frisst der Wind

[...]

Sie trägt den Abend in der Brust Und weiß dass sie verleben muss

[...]

Ihre Lippen schwach und blass Und seine Augen werden nass

Nebel is a palindrome, if you read it backwards you get “Leben”, life. As if our life undoubtedly ends in a thick fog that we are forced to cross alone in an unmanned ship, without loved ones, left on the edge of the cliff of life, and without a lighthouse to enlighten us.

[sechsherzen]

Rammstein challenge - Day 1: Favourite Song

I've decided to attempt to do a challenge! Big surprise, especially to myself, as I'm not the best at posting regularly or even just keeping up with the passage of time most days :D

But I'll do my best to actually complete this because I really like the format. Listing your favourites feels like a great way to engage with the fandom and source material while also telling people what specifically makes it so great in your eyes. Now without further ado...

My favourite song. We're on day 1 and it's already a difficult one. There's a lot of candidates for this and I'll keep some of them for the album-specific days.

I was slightly considering wussing out and doing my top 3 instead but that feels like it would be against the spirit of the challenge :D

In the end, I decided to base it on this: if I were told that I could only listen to one Rammstein song for the rest of time and the rest had to go, which one would I choose to keep? And my answer to that question would be Deutschland.

I remember the first time I heard it when it came out, after a long time without any new music, and I remember thinking "what a comeback!". Later, when the rest of Untitled came out and I wasn't particularly into it, I'd still play Deutschland on repeat a lot.

Even now, it still feels pretty special every time I listen to it - both musically and lyrically (see: Deutschland, mein Herz in Flammen // will dich lieben und verdammen). It deals with a difficult topic and - in my opinion - manages to do so really well. It truly is an incredible, well-crafted song.

Honourable mentions (aka the songs I would have put in my top 3 alongside Deutschland): Mutter and (the source of my url) Haifisch.

[thegothicviking]

Rammstein Adieu video; (Spoilers ahead! DON'T read any further unless you have seen the video!)

I was right about the fact that the R+ bois were infiltrating/breaking in someplace

BUT it was to kill their old selves OR kill off their clones (before they would be mass produced?? I'm guessing??) Anyone else noticed how they included elemens from the Seeman video (the band members being half naked and dragging on chains) Sonne video, Ich Will Video (the fact that they were criminals and fighting off the police to break in somewhere and Till's mohawk), Mein Herz Brennt video, (I'm talking about the children that were locked up underground and looked burned) and maybe also slightly of the Mutter song and video? (the fact that the band members were cloned/made copies of in a lab or the like and the fact that they were now ALL chained up underground and not just Till, as in the original Mutter music video)

But then I remembered the Adieu lyrics...oh no.... The lyrics...Now I'm wondering.....did Till's MOTHER die!!?!? Is Gitta Lindemann dead!?!? Is that why they have the "MUTTER 22" written on the vault!?!? I know that it wasn't JUST the bartender/bar owner from one of the bars were Rammstein had their first gig, who died very recently but the band members have mentioned that it was also several others that they cared about who had recently passed away...so now I am scared that Till's mother just died....

"You have to go the last way alone." ...The lyrics... Can anyone please confirm if Birgitta (Gitta) Lindemann is still alive or not?? I wish she would never die! :(

[derwahnsinn]

31 Days Rammstein Challenge - Day 26: Favourite Pre-Rammstein Photo

Picking a favourite pre-Rammstein photo is very hard. I am generally fond of photos. Many of the old ones are of bad quality, but for me, that's part of history. That's probably one of the reasons why I dislike AI editing so much. Sharpness of a photo, where an AI has guessed what a person is supposed to look like, does not equal quality. It sends me straight into the uncanny valley.

That said, there are many great photos from the pre-Rammstein eras as well. Unfortunately, very few of them are of Oliver Riedel. I guess it comes as no surprise that I picked a photo of him for this challenge: The Inchtabokatables by Richter.

This photo is spectacular as it's one of very few photos of Oliver with more than a tiny bit of hair on his head and no facial hair. As it was taken before the release of White Sheep, the first album Oliver participated on, he is most likely 21 years old in the photo. I love the few glimpses that exist of him pre-Rammstein.

I'd like to add a few honourable mentions: 1) The one Richard Z. Kruspe graciously shared with us on Instagram just after Till Lindemann turned 60. Unknown photographer. 2) Magdalene Keibel Combo on stage in Steinbrücken, from the book Freiheit Blues und Scherben (my scan). 3) And to get one of Schneider, too, a poodle haired drummer from the In Amerika documentary.

--

Day 1: Favourite Song Day 2: Favourite Era Day 3: Favourite Single Day 4: Favourite Album Day 5: Favourite Music Video Day 6: Favourite Member Day 7: Favourite Lyrics Day 8: Favourite B-side or Unreleased Track Day 9: Favourite Remix Day 10: Favourite Live Photo Day 11: Favourite Live Video Day 12: Favourite Making of Day 13: Favourite Picture Official or Unofficial Day 14: Favourite Vocals Day 15: Favourite Bass, Guitar, Drums, or Keyboard Work Day 16: Favourite Outfit Day 17: Favourite Live Moment Day 18: Favourite Pyro Effect Day 19: Favourite Herzeleid Song Day 20: Favourite Sehnsucht Song Day 21: Favourite Mutter Song Day 22: Favourite Reise, Reise Song Day 23: Favourite Rosenrot Song Day 24: Favourite LIFAD Song Day 25: Favourite Untitled Song Day 26: Favourite Zeit Song

[dragonsruby]

Munday Thing!

Tag nine people you want to get to know better

First band: Rammstein. I would make my stuffed animals headband to Sonne and Mutter. That band taught me to count to ten in German around the same time that I learned to count to ten in English.

Last song:  I think Lights by Ellie Goulding or Zero by Imagine Dragons. Angst-adjacent songs about growing up have been vibing with me lately.

Favorite band:  Sleeping At Last. I love songs that have theatrical or poetic lyrics, and O'Neal's voice adds a beautifully emotional touch to everything he sings.

First book:  Green Eggs and Ham or And to Think That I Saw It on Mulberry Street.

Last book:  Flowers for Algernon. Haven't stopped thinking about it since.

First game:  Mario Golf or The Legend of Zelda: Ocarina of Time/Majora's Mask

Last game:  Pokémon Café ReMix, though I did just purchase Superliminal

Favorite game:  It changes constantly, but Supergiant's Hades is a recurring contestant

Working on:  I'm currently reading The Picture of Dorian Gray, playing The Legend of Zelda: Tears of the Kingdom, and watching The Disastrous Life of Saiki K. My dream is to publish a fantasy novel that I'm "working on."

Last movie:  It’s been some time, but I believe the last movie I watched was Murder on the Orient Express (1974). In theaters, Guardians of the Galaxy: Volume 3.

Tagged by: @jaeltree

Tagging: @eahravinqueen @the-aqua-fangirl @faeriisms @vampyvillains @maybefaithwillsetmefree @zootopiathingz @crimebunny @acalculatedfuture @kalosxyz

[herrlindemann]

ROCK HARD - June 2004 - Interview with Paul Landers

Germany's currently most successful rock band was completely submerged for a year. Although the DVD 'Lichtspielhaus' was released recently, the actual concentration of the six Rammstein musicians is solely on the next studio album. Guitarist Paul Landers exclusively answered our questions shortly after Easter and revealed everything worth knowing about the upcoming record, about interpersonal problems within the band, about the relationship with Wladimir Klitschko and about the attempt to lyrically process a cannibal.

Paul, where are you right now?

At home in Berlin. Shortly before Easter we flew from Stockholm, where we are recording our new record, to Germany. Our producer and our mixer have families and children. That's why they just wanted to switch off over Easter.

Is this break in your interest, or did it burst into a creative phase?

Since we are also family people, we didn't find it bad at all. Olli likes to surf and tries to spend every free minute at the sea to quickly jump on a board. He spent Easter on the Baltic Sea, and now we're practically on our way to Stockholm again.

Before we get to Stockholm and the new record, I'd like to talk to you about the past.

Yes, so the band name comes from...(laughs)

Have you been listening to your previous albums, especially 'Mutter’, lately?

Yes. Recently, when we were in the middle of pre-production, I bought an mp3 player and put our albums on it. Then I walked around town all day and listened to all the songs we had.

Did you ever notice that at the time of your debut, 'Herzeleid’, everyone was philosophizing about the incredible guitar sound, but the true sound wonder 'Mutter’ was almost taken for granted?

I don't know now which is better and worse. At least the fact is that 'Herzeleid' sounds rawer. 'Mutter’, on the other hand, sounds smoother, more produced. However, 'Herzeleid' was then in a more extreme position than 'Mutter’ years later. Don't forget when the albums came out. 'Mutter' came out at a time (2001) when many other guitar bands were making records that sounded as good or better than our songs. That's why 'Mutter’ didn't go down in history as a milestone. In hindsight, I find 'Herzeleid' rather cute and today I don't think: Wow, what a sound!

Your producer was Jacob Hellner from the start. To exaggerate: when he hears his work on 'Mutter’, he should almost be ashamed of 'Herzeleid'.

He learned as much as we did and at the time did the best work he was capable of. Both he and we went to our limit at the time. When I see an old photo of myself, I feel ashamed of the clothes I wore back then. Then I think: man, what were you wearing back then? It becomes difficult when I already know now that I think it's very good and that in three years' time I'll also be ashamed. It's always like that.

And is it the same with your sound?

Exactly. At first you think in awe: Mannomann! That's what the Beatles used to think after hearing their four-track recordings. According to the motto: Now the bass drum really has steam (laughs)! And that's exactly how it is with us. When we hear our new songs today, we are totally blown away by the sound and think: Awesome! But in ten years the record will be in the oldie department.

It is said that with 'Mutter’ you couldn't repeat your previous success in the USA and instead had to start from scratch.

Not from the start. But we had a huge success with our second record 'Sehnsucht' and with the single 'Du hast'. That single did fantastic in the States and we had way more success than we could ever have imagined. We took this success for granted and thought: Alright, America is at our feet! Later we were surprised that 'Mutter’ wasn't doing so well.

At first we thought we had to play over there more often. So that's what we did. However, there was also the fact that a certain person, who had looked after us fantastically up until then, left our American record company. This person was infected by us and that is exactly why it is so valuable to us. And England showed that things can be done differently: 'Mutter’ was our most successful record there. All in all, it was certainly helpful for us to experience that things can go not only uphill, but also downhill. However, we were able to cope well with the decline in America because things were going very well in Europe.

Isn't it the case for rock bands in the USA: out of sight, out of mind?

No, because the closer Rammstein fan community isn't there like before. We are established in Europe. In the States, on the other hand, we are still considered exotic, a kind of insider tip with a certain, solid basis. And that base is about 2,000 people per concert. And the people who go beyond that base belong to the "out of sight, out of mind" category.

What were you doing at half past four in the morning on Easter Sunday?

Wait a minute, I can tell you exactly that: I just dreamed of a camel.

So you weren't sitting in front of the telly watching heavyweight boxing?

Klitschko? No, I have not.

I'm asking because your hit 'Sonne' was originally intended as a marching anthem for Wladimir Klitschko.

Yes, but the song was too hard for him.

Was the song really too hard, or do Klitschko think that Rammstein is an evil band?

Does that mean that Klitschko is too nice? Maybe (laughs). We thought it up really well: The whole arena counts — one, two, three, up to ten, and then "Out!”. Exactly at "Out!” Klitschko comes into the arena and goes to the ring. The moment he raises his arms in the ring, the chorus sounds: "Here comes the sun! “ That was the plan.

Anyway, the idea was great.

Yes, the idea was good. He should have done that, then maybe he wouldn't have suffered defeats. As for his last fight, I think someone put something in his water.

Maybe it was just fear that paralyzed him.

No, he was obviously in shape.

Or it was fear of one's own courage.

He may not have any courage to be afraid of. Ah, I don't know. Maybe someone who finds Rammstein too hard is too soft for boxing. He's too weak.

Was 'Sonne’ created specifically because of Klitschko?

Yes, if there hadn't been this request back then, the song wouldn't have existed like this. When the request came, Till sat down and described the topic of boxing in words so that it didn't seem so flat. And then the song came into being in the rehearsal room.

What if there was a request from hockey, football or wrestling?

Oh no, we like the Klitschkos. I also think that the two brothers still have their careers ahead of them.

In any case, one of your best songs ever remained from the failed story.

And that's why it didn't matter that things didn't work out with Klitschko. The song was good. In any case, we thought: You can't force someone to be happy. If someone really wants to march in to Tina Turner's 'You're Simply The Best', they can. It's a nice song too (chuckles).

And then there was a video clip with the big Snow White and you as six little dwarfs.

Yes, we generally try not to translate a video clip as a one-to-one text translation. In addition to the text, the viewer should be offered images that create another level that he would never reach without images.

Does the example 'Sonne' show that you are not fixed in terms of content and that you cannot be grasped, or does it show that the Rammstein brand is primarily about imagination?

It shows that we're pretty great. Before Snow White, we had the idea that there would be six of us on the plane that dropped the atomic bomb on Hiroshima.

You're not serious.

Yes! First comes the refrain - "Here comes the sun" - then the bomb goes off. However, we would have shown it as it really was. The pilots who sat in the atomic bomb planes are already dead. They took their own lives after being shattered by what they had done.

Immediately after the drop, one of the pilots yelled: "Oh, my God! What have I done?”

Exactly. The pilots had forfeited their lives. Anyway, we wanted to show how six people can do something like that.

Not a single music station would have broadcast this clip, especially not in the USA.

You shouldn't think like that. You have to think that you want to make a good video. Whether it will then be sent is the second question. However, that was one of many ideas that we ultimately scrapped. We now also calculate whether the masses could misunderstand us and our concerns. I can tell from your reaction that people wouldn't have understood us. At least I would have liked it if the atomic bomb had gone off in contrast to the beautiful chorus. Nobody could have resisted a corresponding feeling.

Certainly not. But the general public would completely misunderstand you. They would be outraged.

That's what everyone thinks. And that's why it's bullshit.

But what would have happened if it had worked out with Klitschko? Do you have an idea up your sleeve for this case?

Nope I don't know what would have happened then. Maybe then we would have done something together with Klitschko. But that would have been a shame, because we really enjoyed the Snow White story. The video shoot lasted two days. If we didn't feel like driving home from Babelsberg, we immediately slept in the little dwarf house. A friend of ours drove to the gas station and got a box with various drinks. After that we got locked in the studio and had a real dwarf party in the dwarf house. In the making-of part of the 'Lichtspielhaus' - DVD there is a place where Flake looks a bit disorganized and has some difficulties.

'Mutter’ was created to a large extent in a little house on the Baltic Sea...

The songs come from different places. But then we usually go to a place to record them as pre-production. As if summarizing all the notes. The last time the pre-production took place in Heiligendamm on the Baltic Sea.

The Baltic Sea seems to be very important to you, because some of you used to spend the summer time on the island of Hiddensee with your band Feeling B during the GDR era.

We still do. There are only two ways to go: Either you go to the mountains or to the sea.

Did you get to know each other better than ever in the little house in Heiligendamm - that is, in a small space?

No. The best way to get to know each other is on tour, because it doesn't get any closer than that. It's a bit like in the submarine. Every now and then you turn up and play a concert (laughs).

How did your new album come about? How can we imagine your new record without hearing a sound?

In contrast to our previous three albums, the new record was written in a different constellation. The ones who used to bring in a lot of ideas have stepped back this time, and those who used to have few song ideas are much more represented this time.

Who belongs to which group?

That is not important. It is important that the new album has a different tone color for the reason mentioned. And: In contrast to the last record, we had a lot of fun this time. The knot has broken. Also, due to time constraints for songwriting and pre-production, we didn't leave this time, but stayed in Berlin.

Does your statement mean that you had little fun working on 'Mutter'?

Yeah, 'Mutter’ really wasn't that much fun. The famous third album, as the saying goes. There were also personal reasons. After eight or nine years, the balance of power had shifted within the band. It actually happens in every band that Ritchie Blackmore quits because he can't go on with Jon Lord anymore. For years their friction was refreshing for the listeners, but at some point it gets on everyone involved so much that one has to drop out.

But nobody left Rammstein.

No, not that. But we also had gossip and stress between two people because of competence difficulties as well as over- and underestimation. We had to reorient ourselves. It also cracked. But — I knock on wood! — we got through it well, so we could work on the fourth album with fun.

You certainly don't want to mention the names of the two.

Correct. It can happen to anyone, because everyone is unreasonable from time to time.

Back to the richness of tone again: Can you speak of any major differences to 'Mutter’?

We tried to embed the vocals even more into the music. Or to put it another way: the music is more than ever a ring in which the singing comes into its own. Like ten white tigers. A platform, an aircraft carrier for the words (chuckles).

Very lyrically put...

Yes, I try to find the best words. In any case, the planes have to be able to take off nicely (laughs). Also, there are fewer riffs on the record because the guitars are kinda different.

More like a guitar rug?

I do not know it either. Somehow different. But there are people who have listened to it. In any case, for me the album is already different from 'Mutter’, and for the attentive Rammstein fan it certainly is too. Maybe not for my grandma, but every AC/DC song sounds the same to her. So do we: for some it will sound different, for others the new record is exactly the same. And both parties are probably right.

As someone who still appreciates your performance on 'Mutter’, I would like to say quite heretically: the new record can only be a disappointment. It's almost impossible to top 'Mutter’ or at least match it with an equal successor.

But I'm not making a record to top the last one. I always try to make a good album. Now that may sound boring. But your girlfriend won't break up with you either because you have a better...Okay, maybe that's a bad example (laughs).

You can really only find one girlfriend, any one. If you're lucky, it's a good one, and if you're unlucky, she looks pretty but she's daft. A woman can be pretty and everyone thinks, man, why doesn't he stay with her? But her character is completely insane. An album can also sound good, but it must also be fun to write this album. It has often been my experience that people who are less successful work very hard and without fun to be successful. And that, in contrast, people who tend to languish are mostly in good spirits. I have also met people who are very successful and who are totally relaxed.

What can I say: Metallica also continued after their black album. You don't write a good album so that you can't make another one afterwards. Rather, you try to make a good album every time. Or to put it diplomatically: another album, a further development.

Single song titles and various album titles are already floating around. Which titles actually exist?

First the record was going to be be called 'Amore', then 'Rosenrot', and finally we got to 'Rot'. At the moment it has no name at all and we call it 'The Red Album' in everyday parlance. We used to always choose the title after one of the songs, but that doesn't come out on this record. For example, a song is called 'Stein um Stein'. That somehow doesn't fit as an album title. So we're still looking. Another piece is called 'Rosenrot'.

Which is definitely about a woman...

It's about women always wanting something. And the man does it even though he knows it's not good — not good for either of them. But he does it anyway, and in the end he dies. What else can I tell you? A song about Moscow is included. And one about America.

Because you've been to both Russia and the US?

Not necessarily. One song is specifically about the city of Moscow. The America song is about our current relationship with America and the current situation. Lots of people bitch about America, opinion has swung against America a lot lately — because of that country's impeccable foreign policy (chuckles).

On the other hand, I looked in my closet. There were four jackets from America hanging in there. If you complain that the Americans get involved everywhere and are everywhere, then you should start with yourself. It's true that America is everywhere. But in many cases it can only be there because it is wanted. They don't force you to go to Burger King or put on Levi's. In this respect, it is about the positive and the negative in one whole.

A topic that would have been unthinkable at Rammstein five years ago.

Yes, but the America song in particular came to mind, because when we started work on the record, the Iraq war was on. You couldn't avoid that. We weren't looking for such a song theme, rather it was over-present.

By the way: Another innovation is that a little Russian and a little English is sung on the record. Possibly also French, but we don't know that yet. The album isn't designed to be international, but it's not one hundred percent German.

Russian isn't that far off.

Well, everything and nothing is far-fetched.

In any case, Russian fits very well with Till's form of expression.

We weren't specifically looking for that. It just turned out that way.

Richard Kruspe-Bernstein, your fellow guitarist, once said in an earlier interview that you want to make pop music with heavy riffs. Pop music also means that you reach a wide audience. At what point can one say in the case of Rammstein that you've reached a large audience, and at what point would an album be a flop in your eyes?

You have reached a broad mass when you look into the audience and there are men with mustaches standing there.

Everyone has a different definition of when an album is a flop. Personally, I don't go so much by sales numbers. Michael Jackson has sold about 40 billion or 40 million copies of 'Thriller' (laughs). The record after it only managed eight million and was a flop in his eyes and in the eyes of the media.

Eight million! That would be an absolute rocket for us. In this respect, it is a matter of opinion what a flop is.

Let's get back to the DVD 'Lichtspielhaus'. I find both the bank robbery clip and the making-of of 'Ich will’ impressive. This clip required tremendous acting. Did you have to practice for it, or did you develop a certain momentum during the shooting because you realized that the clip could be a real hit?

So if boys are allowed to play shooting, they don't need extra training for it. No, that was easy for us, especially since each of us has criminal tendencies. But it was also hard at times: after this shoot I wouldn't want to rob a bank because this special task force KSK — or SEK or something like that — is really tough. Richard told them not to go easy on it, just make it look real. The guys slapped us so brutally on the floor that my nose bled the first time I turned. You can't see that in the clip.

Unfortunately, the video didn't run very long on TV because it came at a time when two planes crashed into the World Trade Center. So people weren't too keen on a video clip of bank robbers taking hostages. Osama was first and we couldn't top that.

How big was the effort for this clip?

One day of shooting in and around the GDR State Council building.

How much does something like that cost?

You're asking the wrong person. In any case, our manager had negotiated a good video budget with the record company. Normally a band gets around 30,000 euros there. We had maybe 300,000 euros. I don't know, but I'm guessing. We were just lucky, because at that time the treaties from peacetime still existed before the whole dilemma began with the majors.

Your bass player Olli says in the making-of that your self-confidence when it comes to your own songs is washed. Does that mean that you weren't particularly comfortable with your early songs, with which you had incredible success?

No, we were just six naïve East Germans who were let loose on trained journalists. And we've awkwardly tried to resist things we shouldn't have resisted. When I read or listen to our old interviews, I always feel a bit ashamed. On the one hand we had no idea and on the other hand we always meant the best. But actually, from today's perspective, it's just embarrassing.

If people accused me of being right-wing radicals today, I would just giggle. In the past, I would have launched a lengthy defense speech. Kind of like: "But we... There and there..."

At that time, after all these accusations, we only started to think about who we are, what we have done and where we wanted to go. In the beginning we just started without thinking about what we are doing.

The piece 'Ich will’ is to be seen as a homage to being a rock star.

Exactly.

Other bands behave in an awkward manner on stage, annoy with percussion solos and animate with “Heyheyhey!” - and “Ohohoh!” - Call the audience to participate. You've exacerbated the whole thing by making fun of it.

The song is typical for us, because it's meant to be ironic, but then again it's not. Of course we're making fun of bands that start these join-in choirs. But we use it ourselves. We're also happy when people stand down and raise their arms and sing along. When we played 'Seemann' for the first time, we were terribly embarrassed that lighters were waved in the audience. It's okay now because it's part of it.

But there are different ways of animation. You can stand at the edge of the stage like Robbie Williams or Fred Durst and put your hand to your ear, which I find totally disgusting. I find sayings like: “Oh, this city here, Berlin. I love you, it's insane. It's the best concert of the whole tour." This is disgusting gluttony. But either people don't notice it or they don't see it as a prank. In this respect, these musicians should continue to do so.

You, on the other hand, generally don't talk on stage.

The man from the 'Tagesschau' doesn't say anything between the news either. He just presents the facts. It must be enough.

So Rammstein live means: facts, facts, facts.

(Laughs) We let the flames speak for us and don't have to say anything about it. There are many bands that don't talk. And there are bands that I find it cute when they talk a lot. For example Die Ärzte. I think the announcements are better than the music. When Farin talks, I'm happy.

What influence do daily events around the world and looking at the newspaper in the morning have on your ideas for songs and lyrics?

There are influences. For example, we're considering putting a piece about Armin Meiwes, the cannibal from Rotenburg, on our album.

Meiwes was convicted of eating another man...

What do you say: would you have judged him?

Morally, ha. I don't know whether he can be legally convicted.

Morally? Not that. He is legally to be condemned.

If you asked me to cook and eat you...

I would not do that.

But what if. And suppose I actually ate you. Then I would be a creature who should also be condemned from a moral point of view...

You cook your soup chicken too, and it didn't even ask you to. I find it a bit cheeky: When two people make up, one person asks, "Will you marry me?”, and the other one says “Yes, okay!”, because as a third party you don't interfere in their affairs. That's what the two actors in the cannibal story wanted. And if they were fine doing it, I see no reason to get involved.

That's what the stuff movies are made of.

If we did a music video about it, we could take parts from the original video that was shown in court.

But back to the topic: We can't imagine in our imagination that there are people who think it's good when they're peed on. Or that men who work in managerial positions find it good to be humiliated and whipped in a brothel. But there's all that, and there's a lot more, a lot more crass stuff. And when one of the crass things comes to light, everyone is suddenly surprised. Although such things always and everywhere exist.

And what if a cannibal goes unpunished, finds the next victim, kills and eats them against their will - but claims it was consensual?

He can have this confirmed in writing beforehand, quasi by a notary. Like euthanasia, which I support, by the way. I also think it's crazy that you have to buckle up in the car. Everyone should decide for themselves whether they want to buckle up or not. In general, I find the prescribing of security stupid. Everyone should do what they want. I don't mean speed limits in dangerous places. If someone is so stupid and thunders around the corner too fast, they should be punished for it. But if he doesn't want to buckle up, he's supposed to have the right to die on the tree.

Or traffic lights on the street: I have never signed anywhere in my life with which I agreed that I could go green and have to stop at red. I think it's cheeky that I have to stick to these rules. There used to be a forest here through which you could walk freely. Today there is a street with a traffic light. Actually, every citizen should take an oath at the beginning of his life: "I am willing to submit to myself here.” Instead, you are born and you are told: “Well, now join in here! Go join the army and get yourself shot for us! Pay taxes and stop at red”.

Were you in the army?

No, I didn't have time for that. But I pay quite a lot of taxes. If I get two apples from my record company, I have to give one apple back immediately.