#most underrated album

[kirkybabygo]

WHY CAN’T I FORGIVE MEEE? *epic guitar solo*

[herrlindemann]

KERRANG! - October 2005

Review and interview with Schneider, Paul and Till

It’s a thought that must have occurred to Rammstein fans as much as foes during the years this German sextet have been putting fire to stage; What if Rammstein ditched the pyro, the flamethrowers, the spunking stunts cocks and just went it alone? Would it still work? Would the music see them through?

For a band with such an unshakeable visual identity as Rammstein, the music has been the one aspect of this consistently creative act that’s been often overlooked. But step away from the industrial lights and magic of the live shows for a moment, and you’ll find a wealth of hook-laden, corrupted imagination that has made their recorded output as powerful as anything Till Lindemann has lit a fuse to (chances are they still remain the only band to have scored a hit with a love song, ‘Mein Teil’, inspired by cannibalism).

So it’s something of a shame that ‘Rosenrot’ (‘Rose Red’), sees a drop in such standards for the first time. Though you’d be hard pressed to identify old from new here (half of ‘Rosenrot’ is comprised of leftovers from 2004’s ‘Reise Reise’ sessions), Rammstein’s fifth studio outing feels much like an album of two halves. Opener ‘Benzin’ (‘Gasoline’) bruises past with grating malice, ‘Mann gegen Mann’ (‘Man Against Man’) throbs with muscular intent, but aside from the glorious sweep of the title-track, the first handful of numbers offer little in the way of spark or surprise. And just whose idea was it to bring Texas singer Sharleen Spiteri on board for ‘Strib nicht vor mir’ — a hideous ham-job duet that does favors to no one.

What makes such moments so disappointing is that the rest of ‘Rosenrot’ is as good as Rammstein have ever sounded. The appropriately named ‘Zerstoren’ pulps everything in its path in a brutal cavalcade of noise and distortion, while ‘Te quiero puta!’ — a hilarious homage to the ‘ladies’ of South America, complete with Esquivel-style brass band interludes and all-swinging señorita chorus chant, is a stroke of ridiculous brilliance. It says something that the album’s finest moment, the solitary, unsettling ‘Ein leid’ that trades their usual iron-jawed bombast for acoustic fragility and spooky theremins, was the product of a one-take practice room demo — proof that Rammstein don’t need to rely on all their firey window dressing to make a point. It’s just unfortunate that for much of ‘Rosenrot’, you’re glad it’s there this time to fall back on.

Rammstein spill the beans on ‘Rosenrot’

Weren’t you originally going to call this ‘Reise, Reise Vol. 2’?

Schneider: It’s kind of a part two to that album, but ‘Vol. 2’ just sounded too boring to us. It didn’t represent what the album was about.

Paul: We usually record 20 songs for an album and throw out the bad ones, but all the songs turned out so well that we decided to keep them all.

So, ‘Rosenrot’ isn’t just left-overs…

Schneider: I can understand why people might think that, but not at all. This is a new record. We would never release anything we thought was bad, but they just didn’t fit in with the last record. It would be unfair if we didn’t tell people where the songs came from. Besides, records shouldn’t be longer than 50 minutes. I don’t care what band it is.

Paul: And we’d actually received the money for ‘Rosenrot’ and spent it. So it kind of felt like we had to go back to the studio at the beginning, but then the mood changed, and people who weren’t so into it started working and we got somer really good songs out of it.

‘Te quiero puta!’ has a Mexican mariachi band in it…

Till: Yes, that’s our Spanish party anthem, but we’re always extreme in whatever we do — it’s hard to have a strong opinion about beige isn’t it?

Schneider: The music was from ‘Reise, Reise’, but it was instrumental and we couldn’t think of any words for it. Till was really stuck, and then he came up with the Spanish idea. The first time I heard it I was shocked, but it was perfect.

[facebook-stabber]

[allweleftunspoken]

it’s a pain that i caught you at a bad time, it’s a shame that i memorized your outline, you were straight up with me YOU WERE SO KIND BUT I KNEW WHAT YOU KNEW HONEY GREAT MINDS IT WAS HARSH CAUSE I LOST WHAT I WANTED I WAS BRAVE WHEN I KISSED YOU IN LONDON WE’RE COLLATERAL HERE MAN WE GOT HIT HOPEYOUFINDSOMWHERESAFEFORYOURBAGGAGEEVERYPAGETHATIWROTEYOUWEREONITFEELYOUDEEPINMYBONESYOURETHECURRENTANDISHOWEDNORESTRAINTITWASSOMETHINGIWASSCAREDUNTILYOUMADEMELOVEIT-

[seaofreverie]

Sparkstember Day 6: Big Beat (Big Boy)

Wooohoooo, Big Beat! Our favourite little "questionable lyrics" album. Anyway, this one's lots of fun. Full of unrefutable bangers and hard rocking that's not like anything else that Sparks have done for the most part (and it's still very Sparks despite that). But yeah, this is a very strange era for them that I find pretty charming actually, and I think that for the full Big Beat experience one must watch the Capitol Theatre concert from this era (funnily, my favourite bit of it isn't even a song from this album... it's Equator, and, well, this is the exact type of theatricality that I'm a really big fan of, haha)

While I undoubtedly DO like this album, there must also be a reason I don't revisit it all that often. And I think, well, is it just just me or are lots of songs here just kind of... way too simple? Musically speaking (too), and while I'm pretty easy to please when it comes to this type of music that's much more on the rock than pop side of things, and my first impression here was very positive, well, afterwards... I either forgot about it altogether or often had a feeling of "can we move on now" when songs from this album came on shuffle and such. Even listening to this album today I had lots of those moments, like it's not that I don't like these songs... I guess they're just less engaging than I'm used to from Sparks (cause I don't want to call them boring, I think it's a bit of a different thing...).

Also interesting, because despite all this, the 21×21 Big Beat concert is actually a pretty big fav of mine. So I guess my thesis for today is that it's the type of album that works better live maybe!

Favourite songs (and other highlights):

Big Boy: just a good opener and fun song all around, and here's a fun fact about it: about a half of this song's length is just its title being said. Which means that the song Big Boy consists of 50% pure Big Boy

I Want To Be Like Everybody Else: sadly, a bit of a victim of Spotify Shuffle really wanting me to listen to it over and over and it getting a bit old fast

I Bought The Mississippi River: my fav here by far and also the most interesting and memorable, I really like the call & response part, and the guitar solos, the whole atmosphere is great, reminds me a little bit of High C even now that I think about it... Not sure though, I JUST thought about this

Confusion: one of the only songs here that I could see as part of some other album from around this time without it sticking out too much. Makes sense if we keep its origins in mind...

Screwed Up: it's fun to imagine sometimes that the 60s just happened

I Like Girls: COME ON, GIIIIIIRLS!!!

Tearing The Place Apart + Looks Aren't Everything: I love all the bonus tracks here but these two especially are a nice (and unexpected) return to the Indiscreet style which I really love

[ghostnorm]

every love run song is more than a 10/10, because oh god OH GOD sobbing

[go-go-devil]

THERE ARE ALWAYS HIDDEN SILENCES

WAITING BEHIND THE CHAIR

THEY COME OUT

WHEN THE COAAAAAAAST IS CLEEEEEEEARRRR

THEY EAT ANYTHING THAT MOVES

I GO SHAKY AT THE KNEEEEEES

LIGHTS GO OUT

STARS COME DOWN

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[hairtusk]

thank you lovely grace @sapokanikan for tagging me !! as usual i'm too anxious to tag anyone, but if you do one i would like to see it

[cannibal-nightmares]

"I'm no saint, and you're no martyr. Is this what you call love? I say this is a war. March with me of you believe there's any hope for us... There is nothing above, there is nothing below: There is a Hell, believe me, I've seen it. There is a Heaven, let's keep it a secret."

[ x ]

[drainlord]

Break the Ice - music video, 2008, Britney Spears

I'm currently working through a mild obsession with 2000s pop music and I can't get over the timeline of this track.

Britney started recording Break the Ice in August 2006 when she was 7 (!!) months pregnant. She continued recording 3 weeks (!!!) after giving birth and immediately before filing for divorce from her second husband, Kevin Federline. The divorce caused the paparazzi to hound her day and night, which only worsened when her aunt (whom she was very close to) died 2 months later in January 2007. In February, she checked in and out of rehab and shaved her head in the span of 48 hours. In October 2007 she lost custody of her children to Federline - with her album "Blackout" debuting THE SAME MONTH.

She was put under conservatorship in January 2008, after she refused hand over her sons while supposedly on drugs.

Break the Ice was released as the 3rd single from Blackout on March 5, 2008. That slot was originally supposed to Radar, but the record label held a poll on their website and decided to change it in February 2008.

Because of everything that was going on, the planned music video was never shot. Afaik, Britney HERSELF suggested that the video be animated instead; the animation was based on her character in the video for Toxic and seems to be heavily inspired by Ghost in the Shell. In the video, she fights an armada of henchmen to destroy an organization that kept robotic clones of her. Seems almost ironic, doesn't it?

[piimpf]

Hi modetuals please vote on this don't embarrass me

[torturedbitchesdepartment]

i would like to say formally and in front of God that if debut has a million stans, i’m one of them. if debut has five stans, i’m one of them. if debut has one stan, that stan is me. if debut has zero stans, then i am dead and buried. if the entire world is against debut then i’m against the entire world.

[ohwarnette]

when sabrina carpenter said “oh, so you do have a type? and it’s not me oh, so you can reply? just to not me if you wanted brown eyes I could have gotten contacts so y’all are in paris now? guess it’s public face like that other girl you’re in love with you knew I would see that you knew I would notice she looks nothing like me can’t really tell should I be tryna take it as a compliment? it’s kinda feeling like the opposite she looks nothing like me so why do you look so happy? now I think I get the cause of it you were holding out to find the opposite and I know now even if I tried to change that somehow you’d end up with her anyway oh, I know now even if I tried to change that somehow you’d end up with her anyway does she say nothing so you feel good? does she step out of the spotlight so you bathe in it? does she get up on top of you more than I would? does she just love the picture cause you’re painting it? I care but I don’t just wondering when you said I’m beautiful was I being lied to?”

[wekillitwithfire]

ah fuck it we're listening to imagine dragons tonight