Had their 2019 untitled record been their last, I think fans would have been fine writing that line under Rammstein and celebrating the victory lap of one of the biggest international acts of all time. The matchstick-emblazoned seventh disc from the forefathers of Neue Deutsche Härte was a powerful statement, one that needed to be made after the band’s studio work lay dormant for a decade, owing to endless touring and myriad side projects. With the anthemic “Deutschland,” the unsettling “Hallomann” and “Puppe,” and the quintessential-sounding “Ausländer,” the untitled disc was a comeback record to end all.
So when the wait between records is cut to just shy of three years, color me and many others thrilled, as Zeit arrived this spring with a story to tell. Rather than weave the yarns as they’ve done inside of a song, such as “Rosenrot” or “Heirate mich,” this LP uses its title as a central theme. In several ways, the eleven tracks cover a lifespan, dealing with reflection, youth gone wild, and looking back on a life well spent. As the band comes up on nearly thirty years together, the lineup unchanged and the mission even less so, Till Lindemann and Co. aren’t above a song that would make any of those on the antiquated “Filthy Fifteen” blush, but even when things go fully X-rated, there’s a storyline purpose being served.
Having been around for as long as they have been, the band has made their own universe of sorts within their lyrics, and as such have no trouble referencing themselves or their past tracks. For one, “Schwarz,” adapted from one of singer Till Lindemann’s own poetry, features a line taken nearly word for word from the Rosenrot track “Hilf mir”:
“Denn immer, wenn ich einsam bin, zieht es mich zum Dunkel hin”
(Then whenever I’m alone, I am pulled in by the darkness)
In “Hilf mir”
“Immer wenn ich einsam bin, zieht es mich zum Feuer hin”
(Whenever I am alone, I’m pulled towards the fire)
In either case, the persona in the song is consumed by that which draws them in; that is, in “Hilf mir,” the fire literally consumes the persona, eliciting cries of the title, while in “Schwarz,” the persona finds a sort of uneasy comfort in the darkness.
We also see a couple of songs that feel like spiritual successors, if not direct ones, to previous hits. The sex-positive “OK” (standing for “ohne Kondom”) feels like part two to the controversial “Pussy,” while the far more straight-laced “Meine Tränen” feels like it picked up where the 2001 power ballad “Mutter” left off.
Musically speaking, the record leans a bit more into the theatrical and grand than previous offerings, and given Rammstein’s extensive catalog, that’s an achievement. For one, the horn section on the adipose anthem “Dicke Titten” adds a bit of tongue-in-cheek humor that put the band on the radar all those years ago, while it and its predecessor “Angst” employ a drop B tuning, something that I don’t believe the band has ever really messed with.
But if the song is called “Dicke Titten,” or “Big Tits” in English, shouldn’t it have been in D?
… moving on.
Of course, there is no shortage of snarling earworms of riffs, particularly in “Zick Zack,” the aforementioned “Angst,” and the explosive “Giftig.” Guitarists Richard Z. Kruspe and Paul Landers are riff lords for sure, and they live up to their collective reputation in spades here. There are a few surprises on the record, including a hilariously over-Autotuned Till on the penultimate song “Lügen,” which makes some sense, since the persona in the song is a pathological liar, and the argument for “Autotune isn’t an instrument” is still floating out there. A bit late to the draw for a band that was once ahead of its time, but point made and noted.
It should be pointed out that this album came about due to the lack of ability to tour during the pandemic. Think about this: this record, which is a good Rammstein record, thereby making it a great record by any other metric, was a “fuck it, let’s make an album” album. That the band can knock out a mostly killer disc like this for the hell of it is a testament to the lasting power of Rammstein. Even as most of the band members pass half a century in age each, if they’re putting out this level of material, then by all means, boys, throw shit at the wall and see what sticks.
… why do I read that back and fear that I’ve inspired a future music video?
To know Rammstein is to, at the very least, know the megahit that is “Du hast.” Whenever I tell someone that I speak German, especially in a club setting, I get asked if I know what the song is really about, or what the singer is actually saying. It’s at this point that I usually inform them what “Mein teil” or “Bück dich” is about. But we’ll get to the latter of those later.
After the success of their debut album Herzeleid, the Berliner godfathers of NDH (that’s Neue Deutsche Härte, or new German heaviness) had to go bigger. Truth be told, the album wasn’t as massive of a seller as one might think, but the band’s live performances helped to garner attention amongst a growing industrial metal scene. Think back to 1995, when Herzeleid was released. This was one year after The Downward Spiral, Ministry’s Psalm 69 was already three years old, and Rob Zombie hadn’t quite gone solo yet. Industrial metal was very much alive and well, but it was about to go to the stratosphere in the year of our lord 1997.
What brought them to the dance? Herzeleid has plenty of the threads that we would see in the later years of Rammstein, but it is far from the theatrical, over-the-top showmanship and lyricism that we would see on Sehnsucht and beyond. It’s very much an industrial record first and foremost, though the guitar gets plenty of workout. There are even guitar solos on tracks such as “Weisses Fleisch” and “Du riechst so gut,” and the ballad “Seemann” has one of the best bass guitar melodies this side of Primus. The grandeur comes in on “Heirate mich,” with a larger concept and lyrical storytelling. We know that Rammstein gets X-rated better than most, and we need look no further than “Das alte Leid” and the aforementioned “Weisses Fleisch” for examples of good fuckin’ songs (emphasis on “fuckin’”).
Thematically speaking, the band was just getting warmed up on Herzeleid. The success of the album in their native Germany got them festivals such as Pink Pop, took them stateside for tours with Project Pitchfork and Clawfinger, and allowed the band to support The Ramones for eight shows on their 1996 “Adios Amigos” tour. David Lynch’s surreal Lost Highway also used “Rammstein” and “Heirate mich” on its industrial-heavy soundtrack. To say that the sophomore record was highly anticipated may be putting it gently, and that’s not a word that usually comes to mind when speaking of Rammstein.
In November of 1996, the band traveled to Malta and entered Temple Studio with producer Jacob Hellner to record the follow-up to Herzeleid. By the beginning of April 1997, the band had a single in “Engel,” featuring vocals from Bobo singer Christiane Hebold. Bobo’s drummer Sascha Moser previously played with Rammstein’s guitarist Richard Z. Kruspe in the funk-metal outfit Orgasm Death Gimmick, reinforcing ties from ODG’s origins in the early Nineties. Prior to release of the iconic “Du hast,” the band remixed Korn’s song “Good God,” as well as released a Fan Edition of the “Engel” single, featuring two non-album tracks in “Wilder Wein” and “Feuerräder,” the former of which was a staple of the band’s live performances. The month of the album’s release saw both Herzeleid and the “Engel” single read Gold certification, and on August 25th, 1997, Sehnsucht was unleashed upon the world to rave reviews.
The artwork for the album was done by Gottfried Helnwein, who drew inspiration from his own work on the cover of Scorpions’ Blackout some fifteen years prior. Using surgical implements from surgeon Ferdinand Sauerbruch, six different covers were made for the album, one for each member of the band. While many different versions of the album have made their way out, I will be focusing on the standard 11-track version for the purposes of this retrospective.
The title track wastes no time getting to the stomping rhythm and monster riffage, as if to say, “Last time we kicked this off, we had to make a statement. This time you know who we are, so let’s just get to it.” And while the last record just hinted at sex in the opening with “Wollt ihr das Bett in Flammen sehen?,” “Sehnsucht” is very clearly about blue balls and wanting to rekindle an old flame:
“Zwischen deine langen Beinen such den Schnee vom letzten Jahr, Doch es ist kein Schnee mehr da.”
“Between your long legs, I search for last year’s snow, But there’s no snow there anymore.”
Then we get to the would-be mega-single “Engel,” which I would make the case for being an industrial track with shades of metal. The guitars really only make an appearance during the post-chorus, and it’s the keys and synths that get any sort of “solo” before the final chorus. Lyrically, it’s hedonistic and anti-religion, with the baritone of Till Lindemann proudly declaring “Gott weiß ich will kein Engel sein,” or “God knows I don’t want to be an angel.”
“Tier” is a song that could have easily been a thrashy, pedal to the metal banger that even starts out that way. Instead takes a mid-tempo route, and to its benefit, making for a more dance floor-friendly number. It’s one of two songs on the record that talk of incest, though the rape-revenge route that the second verse takes is at least justifiable.
“Bestrafe mich” is not a love song, it’s kinky and downright dirty in all the right ways. The bass guitar gets a rare moment to shine, with Oliver Riedel’s tight bassline driving the interludes between verse and chorus. There are readings of this song that make it about religion, a relationship between man and God (“der Herrgott nimmt, der Herrgott gibt,” or “the Lord takes, the lord gives,” a play on the old adage “The Lord giveth, and the Lord taketh away”), and while it’s not my place to confirm this suspicion, it does hold water, holy or otherwise.
Then we get to “Du hast,” the song that launched a million German students or more. The double-meaning in the pronunciation is worth pointing out to the uninitiated; that is, as the song title is written, it means “you have,” but “hassen,” the word for “hate” is pronounced no differently, and the band even plays with this in the lesser-known English version of the song. The main riff is iconic, the drums that precede the verse serve as a warning to what comes next, and the showmanship and theatricality is classic Rammstein.
Then we get to “Bück dich.” Just as “Weisses Fleisch” was the sex song of its record, this song is, well, something else. Its neck-snapping pace and punishing riffing fit the loveless thrusting of its subject, sodomy. This song is infamous for getting the band in trouble during live shows, as Till has simulated anal with keyboardist Christian Lorenz, complete with squirting strap-on dildo and all the tender loving care that comes with that. In June 1999, this act would land the two in jail in Worcester, MA for the night due to the city’s stricter decency laws. The song was never released as a single, but it has a reputation all its own.
“Spiel mit mir” is as cinematic as it gets for the early Rammstein records. The strings plinking away between Till’s talk-sung lines and stanzas make for an uncomfortable listen, and given this is incest song number two, that tracks. Disturbing, haunting, and thematic is the name of this song’s game, and the line “Vater, Mutter, Kind” makes for a worthy crowd sing-along for live shows.
“Klavier” is to this record what “Seemann” was for Herzeleid, a power ballad about obsession turned deadly. Slow songs aren’t Rammstein’s usual modus operandi, but when they do decide to bring down the pace, they do so masterfully.
“Alter Mann” is a rarer cut, once again more of a techno / electronic song than a metal one. Dealing in old age, wisdom, and possession, this is a creepy track for sure, unfortunately lost to stronger efforts on this album. “Eifersucht” walked so that “Mein teil” from 2004’s Reise, reise could run. It deals in cannibalism, murder, and jealousy, and it’s a song that feels like it may have been left off of Herzeleid for whatever reason.
We close with “Küss mich (Fellfrosch),” and this is straightforward industrial metal. Samples, a heavy main riff, and more bassy goodness from Oli Riedel. Allegedly, this song has never made the band’s live setlist, and that’s a damn shame given its crowd-popping potential and accessible groove.
This album has stood the test of time for a couple of reasons. The taboo material the band wrote and played about, the blending of metal and industrial music, and a fresh sound not felt stateside in some time. Sehnsucht allowed Rammstein to tour with the likes of Hanzel und Gretyl, Skunk Anansie, Soulfly, and even a couple of Latin American dates opening for KISS. Stateside, the band found its way to the Family Values Tour in 1998, and “Du hast” landed the band’s first of two Grammy nominations for Best Metal Performance in 1999. Rammstein also earned an ECHO Award for Most Internationally Successful German Artist, and the Live aus Berlin concert film that followed went on tour, and was released on DVD and VHS.
The band wouldn’t return to the studio to record their next album, Mutter, until May of 2000, allowing for three years of touring, airplay, and publicity out of this landmark record. Is Sehnsucht their strongest record? Maybe, though some would say that the best would be yet to come, but twenty-five years later, Sehnsuchtist doch so grausam, und wir sind dafür besser.
For some thirty years, Wacken Open Air has been the premier festival for heavy metal. One weekend every summer, a small village in the German region of Schleswig-Holstein is overtaken by thousands upon thousands of diehard headbangers. The representation of the industrial world has been off and on, with previous festivals hosting acts such as Ministry, Megaherz, the upcoming run, the first proper festival in three years thanks to – well, we all know – has gained an industrial metal mainstay for a first-time appearance.
Dope was announced for Wacken over the weekend, holding it down for the industrial world alongside Till Lindemann and his new solo project. While the Rammstein frontman played Wacken alongside his main band in 2013, this will be Dope’s first ever appearance at the metal institution. This comes off the heels of Dope’s previous announcement of a spring 2022 US tour alongside Fear Factory, Static-X, Mushroomhead, and Twiztid, which will take the band into early April, well before the August 4-6 block for Wacken Open Air.
Interesting enough, Dope hasn’t released any new music since 2016’s Blood Money Part 1, though a cover of Ministry’s thrash-tastic classic “Thieves” was recorded for part 2, the track also featuring Combichrist’s Andy LaPlegua. Perhaps the upcoming tours will feature tracks from Blood Money Part 2? Or even see the album be released by that point? Time will tell, but in the meantime, check out the full lineup for Wacken here, and blast Dope’s stellar cover of “Thieves” below:
Electronic Substance Abuse (ESA) are among a short list of modern industrial acts that are consistently great, particularly with their most recent releases Burial 10, Eat Their Young / The Scorn EP, and the single “I Detach” coming within the last two years. Between the concussive snares, the powerful production, and the wide range of vocals – whether they’re provided by mastermind Jamie Blacker or by guests such as Caitlin Stokes of Corlyx – ESA is a project that rarely, if ever, misses.
It is with this sort of reputation that the project sets forth its most recent studio effort, Designer Carnage, released on Negative Gain Productions on Valentine’s Day. Using buzzwords and phrases such as “modern decadence” and “be the envy of your peers,” the marketing for this album is on-the-nose anticonsumerism done ESA style. As part of the pre-orders for the record, they offered ESANCE, a line of cosmetics and wellness products that will shock your system and lead you into the new year looking and feeling your best, price tags be damned.
ESA might best be described as “progressive industrial,” insofar as the influences and the backbone of the album may change from track to track, or even multiple times within a track. This album’s opener, “Laudanum Dance,” is a prime example of this. It starts off with a build towards an aggressive, “sweep the premises” tone. The first half of this eight-minute saga feels like a nod to The Prodigy and the grungiest of UK house, before giving way to a dizzying piano solo by Frederic Scarfone. By minute six, we get a marching, stomping beat that lets the power this opening track has carry on through the ending.
We then get a dance floor destroyer in “One Missed Call,” whose first round of vocals come from a sampled voicemail from a very disgruntled woman. On one hand, there is something to be said here about “anything you say can and will be used against you,” particularly with the lines:
“This is a message to stop you from getting far
Because no-one knows what I know and you’ll never be a star.“
It’s a damn fun track, and it’s no secret why it was one of the tracks released ahead of the full record.
Then we get to the powerful, wub-heavy “I Detach,” which we got as a single last May. The jazzy little interlude might be a bit of whiplash for those unprepared, but it does help break things up with this limb-ripper of a track. The title track comes next, and if Jamie doesn’t play “I Detach” followed by this, I don’t know what he’s doing. These two songs are the perfect one-two punch and compliment each other so well.
“Disruption Only” stands out for a few reasons, namely the symphonic and orchestral elements. The tempo gets turned up, but the three-note melody keeps things in EBM territory, albeit with a twist. It is a simple number, but it makes seven minutes (6:49, to be exact) feel like nothing. During the next song, “Come and Find Me,” I came to realize why there were so many big band, jazz-type moments in this album. Designer Carnage has a theme of advertisement, of unabashed entrepreneurship, and back in the day, commercials, especially radio or television, were whimsical while also a bit insidious. It is in this aggressive marketing (the industrial/EBM elements), paired with the whimsy (the big band interludes) where we get the duality of advertising.
Or maybe Jamie just makes good goddamn music and I’m reading into things too much.
“Hyena” is classic ESA, with aggressive percussive elements and an overall tone that will turn a ravegoer’s brain to mush in the most fun way possible. This is perhaps the most club-friendly song on the record next to “I Detach.” “Whom Then Shall I Fear?” features the lyrical flow of Pee Wee Pimpin, and man, does his voice do something for this track. His flow is smooth, the low voice almost chanting over the production. It’s swagger but not to the point of self-parody. It’s aggressive to the point of believability. Burial 10 had its share of industrial hip-hop moments, but Designer Carnage has a hell of one with this track.
“Vast Accept” is purely hypnotic, the kind of track to put on and lose oneself to. The staccato strings and the glimmering synths over a pounding bass make for a dream of a song. The album’s closer “Saturnalia” may divide some folks, as it leans back on Blacker’s roots in the extreme metal scene. If you like the idea of industrial black metal (and lord knows I do), you’re going to love it. The first minute plus is blast beat o’clock, while things go in a more electro direction as the track progresses, all the way to an acoustic interlude around the halfway mark. We circle back to the black metal beginnings of the track as the curtain falls on this epic, spanning closer.
Is this Jamie throwing everything at the wall and seeing what sticks? If so, very little is falling off. Surround thyself in only the finest of Designer Carnage by streaming and/or purchasing the album:
From deep in the heart of Texas comes SPANKTHENUN, with an inkling for old-school EBM worship. Their previous full-length effort, volume one of The Bunker Tapes, saw production overseen by the legendary Claus Larsen. With a punishing lead single in “Dominate,” the group have put the dark electronic world on notice, and with The Bunker Tapes Vol II, they wage war with vintage weaponry. Invoking memories of Skinny Puppy and the darker, snarlier days of EBM, this collection of nine original tracks, joined by a handful of remixes by acts such as Mirland and Planet Damage, is just about as no-frills as classic industrial gets, even with the modern lens and production standards.
Starting off is the lead single “Off Beatings,” with vocals by the aforementioned Larsen. It’s a mid-tempo, focused dark electro number with a marching beat that burrows and settles in the chest, if only to allow the follow-up, “I Self Me” to let the synths breathe just a bit more. Whereas “Off Beatings” is an icepick to the brain, “I Self Me” is more of a cattle prod jabbed into the side, urging you to move along while inflicting uncontrollable movement with its tubular synth work and low, snarling verse vocals. To that end, “The Smoking Gun” is a blend of the danceable synth work and the stomping grooves seen thus far, with a creeping but simple bass line pushing things forward.
“Right Father” is easily one of my favorite songs from the disc, with its post-punk melody, dancing synth lines, and the reverb-laden snare that evokes memories of the old guard. It lends itself nicely to its successor “Sick Pathos,” with its two-note bassline and samples abound, making for an instrumental dance floor filler that is all killer. The theme of a two-note bass line continues with the schizophrenic “Man on the Moon,” another banger with a certain cyberpunk flare not felt thus far in the album.
Perhaps the most mainstream-ready track is “Industrial Beats,” with a four on the floor groove and a message we all can understand: “Music gives me what I need / I need my industrial beats.” And was that a Bill Moseley sample I heard? At any rate, the bouncy, descending melody of “Lockdown” feels like it would really ramp a crowd up at a live performance, the slow build to the hook growing the anticipation. It’s a droning, burrowing piece with the reminder that we all, in fact, live in the broken machine-ah. We move forward into the mid-90s or so with the last original track “I Am The Fire,” with its slower pace making for more deliberate grooves. The vocals stand out here, a low talk-sung growl that lets things burn all the more brightly.
We then pivot to the remixes with Mirland’s remix of “Off Beatings.” It’s far more percussive than its album version counterpart, with more 808s and less of an overall melody. Next comes Nature of Wires remixing “Right Father,” adding realistic drums (insofar as they sound like they could be live) and taking some of the mud and distortion off of the vocals. Planet Damage’s take on “The Smoking Gun” feels like textbook 90s industrial, with plenty of flare and panache to take it to places the original mix didn’t need to go. We end on the Psychosomatik remix of “I Self Me,” which brings the war with machine-gun percussion, though it does so in a more club-ready fashion.
My first taste of SPANKTHENUN was Glitch Burn Sin, and I’ve yet to be disappointed by them. Single after single, record after record, this is an act that turns out bangers that hold down the underground. This is a must-listen album for fans of industrial, new, old, and otherwise.