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Rammstein
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Rammstein ([ˈʁamʃtaɪn], lit. "ramming stone") is a German Neue Deutsche Härte band formed in Berlin in 1994. The band's lineup—consisting of lead vocalist Till Lindemann, lead guitarist Richard Kruspe, rhythm guitarist Paul Landers, bassist Oliver Riedel, drummer Christoph Schneider, and keyboardist Christian "Flake" Lorenz—has remained unchanged throughout their history, along with their approach to songwriting, which consists of Lindemann writing and singing the lyrics over instrumental pieces the rest of the band has completed beforehand. Prior to their formation, some members were associated with the punk rock acts Feeling B and First Arsch.
Key Information
After winning a local contest, Rammstein was able to record demos and send them to different record labels, eventually signing with Motor Music. Working with producer Jacob Hellner, they released their debut album Herzeleid in 1995. Though the album initially sold poorly, the band gained popularity through their live performances and the album eventually reached No. 6 in Germany. Their second album, Sehnsucht, was released in 1997 and debuted at No. 1 in Germany, resulting in a worldwide tour lasting nearly four years and spawning the successful singles "Engel" and "Du hast" and the live album Live aus Berlin (1999). Following the tour, Rammstein signed with major label Universal Music and released Mutter in 2001. Six singles were released from the album, all charting in countries throughout Europe. The lead single, "Sonne", reached No. 2 in Germany. Rammstein released Reise, Reise in 2004 and had two more singles reach No. 2 in Germany: "Mein Teil" and "Amerika"; the former song reached No. 1 in Spain, becoming their first No. 1 single.
Their fifth album, Rosenrot, was released in 2005, and the lead single, "Benzin", reached No. 6 in Germany. Their second live album, Völkerball, was released in 2006. The band released their sixth album, Liebe ist für alle da, in 2009, with its lead single, "Pussy", becoming their first No. 1 hit in Germany despite having a controversial music video that featured hardcore pornography. The band then entered a recording hiatus and toured for several years, releasing the Made in Germany greatest hits album as well as the Rammstein in Amerika and Paris live albums. After a decade without new music, Rammstein returned in 2019 with the song "Deutschland", which became their second No. 1 hit in Germany. Their untitled seventh studio album was released in May 2019 and reached No. 1 in 14 countries. While sheltering during COVID-19 lockdowns, the band spontaneously wrote and recorded their eighth studio album, Zeit, which was released in April 2022.
Rammstein was one of the first bands to emerge within the Neue Deutsche Härte genre, with their debut album leading the music press to coin the term, and their style of music has generally had a positive reception from music critics. Commercially, the band has been very successful, earning many No. 1 albums as well as gold and platinum certifications in countries around the world. Their grand live performances, which often feature pyrotechnics, have contributed to the growth in their popularity. Despite success, the band has been subject to some controversies, with their overall image having been criticized; for instance, the song "Ich tu dir weh" forced its parent album Liebe ist für alle da to be placed on the "index" maintained by the German Federal Review Board for Media Harmful to Minors and re-released in Germany with the song removed due to its sexually explicit lyrics.
History
[edit]Founding and Herzeleid (1989–1996)
[edit]
"I don't want to be another KISS, where people talk about makeup and stuff like that and no one talks about the music."
In 1989, East German guitarist Richard Kruspe escaped to West Berlin and started the band Orgasm Death Gimmick. At that time, he was heavily influenced by US music, especially of hard rock band Kiss. After the Berlin Wall came down, he moved back home to Schwerin, where Till Lindemann worked as a basket-weaver and played drums in the band First Arsch (loosely translated as "First Arse" or "First Ass"). At this time, Kruspe lived with Oliver Riedel of The Inchtabokatables and Christoph Schneider of Die Firma.
In 1992, Kruspe made his first trip to the United States with Till Lindemann and Oliver "Ollie" Riedel. He realized that he did not want to make US music and concentrated on creating a unique German sound. Kruspe, Riedel and Schneider started working together on a new project in 1993. Finding it difficult to write both music and lyrics, Kruspe persuaded Lindemann, whom he had overheard singing while he was working, to join the fledgling group.
The band co-existed with the members' previous projects for about a year and a half. Members would invest the money raised with Feeling B shows in new project. They recorded their first songs in a building that had been squatted by Feeling B frontman Aljoscha Rompe.[2] A contest was held in Berlin for amateur bands in 1994, the winner of which would receive access to a professional recording studio[2] for a whole week. Kruspe, Riedel, Schneider, and Lindemann entered and won the contest with a 4-track demo tape with demo versions of songs from Herzeleid, written in English. This sparked Paul Landers' attention, who wanted in on the project upon hearing their demo. To complete their sound, Rammstein attempted to recruit Christian "Flake" Lorenz, who had played with Landers in Feeling B. Though initially hesitant, Lorenz eventually agreed to join the band.
Up to that point, the band was called Tempelprayers.[3] The name Rammstein comes from an early idea of Schneider, Flake and Paul. They called themselves Rammstein-Flugschau (Rammstein Airshow)[4] after the 1988 Ramstein air show disaster. They had that name already written inside their Robur LO during their time in Feeling B. Guitarist Paul Landers said the spelling of Ramstein with the extra "m" was a mistake.[5] After the band became popular, the band members denied the connection to the air show disaster and said that their name was inspired by the giant doorstop-type devices found on old gates, called Rammsteine.[6] The extra "m" in the band's name makes it translate literally as "ramming stone".[2] In a 2019 feature, Metal Hammer explained that the band was named after one of their earliest songs, "Ramstein", written after the air show disaster at the American airbase in Ramstein. According to the band, people started to refer to them as "the band with the 'Ramstein song'" and later as the "Ramstein band".[2] Before agreeing on the name "Rammstein", the band also had other names in mind: Milch (milk), Erde (earth) or Mutter (mother).[7]
Later, Rammstein was signed by Motor Music.[2] Rammstein began to record their first studio album, Herzeleid, in March 1995 with producer Jacob Hellner.[8] They released their first single "Du riechst so gut" that August and released the album in September. Throughout October, the newly minted band gathered their first few significant waves of fans while opening 15 shows across Germany for Project Pitchfork.[9][10] Later in that November, they opened two shows for Clawfinger in Warsaw and Prague.[2][11] In December, they headlined a 17-show tour of Germany which helped expand the fanbase they had initially established while opening for Project Pitchfork and Clawfinger. This helped to boost the band's popularity and establish them as a credible live act. They went on several tours throughout early 1996, releasing their second single titled "Seemann" on 8 January. On 27 March 1996, Rammstein performed on MTV's Hanging Out in London, their first performance in the UK. Their first major boost in popularity outside Germany came when Nine Inch Nails frontman Trent Reznor chose two Rammstein songs, "Heirate mich" and "Rammstein", during his work as music director for the David Lynch 1997 film Lost Highway.[2] The soundtrack for the film was released in the U.S. in late 1996 and later throughout Europe in April 1997. In the middle of 1996, they headlined one tour of their own in small, sold-out venues.[2] Rammstein went on to tour through Germany, Austria, and Switzerland from September to October 1996, performing an anniversary concert on 27 September called "100 years of Rammstein". Guests to the concert included Moby, Bobo, and the Berlin Session Orchestra, while Berlin director Gert Hof was responsible for the light show.
Sehnsucht and Live aus Berlin (1996–2000)
[edit]Rammstein started recording Sehnsucht in November 1996 at the Temple Studios in Malta.[12] The album was again produced by Jacob Hellner. "Engel", the first single from the album, was released on 1 April 1997 and reached gold status in Germany on 23 May. This prompted the release of a fan edition of the single, named Engel – Fan Edition. This contained two previously unreleased songs, "Feuerräder" and "Wilder Wein". Release of the second single from the album Sehnsucht was "Du hast", which hit the German single charts in August 1997 at No. 5. Rammstein then continued touring in the summer while Sehnsucht was released on 22 August 1997. The album reached No. 1 in Germany after two weeks in the charts. Simultaneously, Herzeleid and both Sehnsucht singles ("Du hast" and "Engel") were in the Top 20 of the German charts. Rammstein continued to headline sold-out shows throughout Europe in September and October. On 5 December 1997, they embarked on their first tour of the United States as the opening act for KMFDM. In July 1998, the band released a cover of the song "Stripped", originally released by Depeche Mode in early 1986; it was included on the tribute album For the Masses, the Rammstein version obtained moderate success in Germany and Austria.
On 22–23 August 1998, Rammstein played to over 17,000 fans at the Wuhlheide in Berlin, the biggest show the band had played there up to that date. Supporting acts were Danzig, Nina Hagen, Joachim Witt and Alaska.[13] The show was professionally filmed, intended to be released on their upcoming live DVD, Live aus Berlin. Rammstein embarked on a live tour with Korn, Ice Cube, Orgy and Limp Bizkit called the Family Values Tour in September through to late October 1998. Continuing their success in the US, Sehnsucht received Gold record status there on 2 November. The band was nominated at the MTV European Music Awards for Best Rock Act and performed "Du hast" live on 12 November that year.
Rammstein had further success in 1999, starting in February with a nomination for Best Metal Performance at the 41st Annual Grammy Awards. A year after it was filmed, the Live aus Berlin concert was released on CD on 30 August 1999, with a limited edition double CD also available. Two weeks after it was released, Live aus Berlin went to No. 2 in the German Album Charts. On 13 September and 26 November 1999, the video and DVD versions of the concert were released respectively. Further popularity ensued when "Du hast" was included in The Matrix: Music from the Motion Picture.
Mutter (2000–2002)
[edit]Rammstein's album Mutter was recorded in the south of France in May and June 2000, and mixed in Stockholm in October of that year. During December 2000, Rammstein released an MP3 version of "Links 2-3-4" as a teaser for their new album. 2001 was a busy year for Rammstein, as the band needed to finish off the Sehnsucht Tour ending in January and February with the band playing the Big Day Out festival in Australia and New Zealand and some concerts in Japan. January also heralded the shooting of the video for their upcoming single, "Sonne", recorded in Potsdam at Babelsberger Filmstudios from 13 to 15 January 2001. The video was released on 29 January 2001. The single for "Sonne" was released on 12 February 2001 in Europe, featuring an instrumental version of the song, two remixes by Clawfinger and the song "Adios" from the upcoming album.
Mutter was released on 2 April 2001, sparking another Rammstein tour through Germany, Austria, and Switzerland. On 14 May, the second single from the album, "Links 2 3 4", was released, along with a video of the single on 18 May. After a tour throughout Europe in June, the band then toured the U.S., Canada and Mexico from June to August 2001. "Ich will", the third single from the album, was released on 10 September 2001 and a Tour edition of the Mutter album (the cover of which is red)[14] was released, featuring alternative artwork and live versions of "Ich will", "Links 2 3 4", "Sonne" and "Spieluhr".
From 8 to 12 January 2002, Rammstein traveled to Prague to participate in a minor scene for the film XXX. The band is seen in the opening scene, performing their song "Feuer frei!" in a concert. "Feuer frei!" was released across Europe as the first single from the XXX soundtrack on 14 October 2002. Rammstein released two remixes of the song. Furthermore, the single's track listing included "Du hast" and "Bück dich" cover versions by Battery. The video for the single was edited by Rob Cohen and contains part of Rammstein's performance at the beginning of the film and part snippets from the film itself.
Reise, Reise, Rosenrot, and Völkerball (2003–2006)
[edit]Rammstein recorded Reise, Reise (meaning "journey, journey", or as a command "travel, travel", but also an archaic Reveille) at the El Cortijo studio in southern Spain in November and December 2003; it was mixed at Toytown studio in Stockholm, Sweden in April and May 2004. The first single from the album was "Mein Teil", released on 26 July. The video was shot in the Arena, in the Treptow district of Berlin. Outdoor shooting took place at the Deutsche Oper (Opera House) U-Bahn station on Bismarckstrasse. The director was Zoran Bihac, who also filmed the "Links 2 3 4" video. The video for the second single, "Amerika", was filmed on 6 and 7 August 2004 in the ruins of the former cement works in Rüdersdorf, near Berlin, under the direction of Jörn Heitmann (who also directed the "Ich Will" music video, among others). The space suits for the Moon scenes were borrowed from Hollywood and 240 tons of ash were needed to create the Moon landscape. The video premiered on 20 August, while the single was released on 13 September.

Reise, Reise was released on 27 September 2004 and went straight into top 10 charts throughout Europe. According to the Billboard charts, Rammstein were at that stage the most successful German-language band of all time. Rammstein toured Germany through November and some of December 2004, releasing the single "Ohne dich" on 22 November. In February 2005, Rammstein toured Europe again. By 28 February, Rammstein had played 21 concerts in front of more than 200,000 spectators in ten countries. It was on this tour that the band was faced with several lawsuits resulting from severe fire breathing accidents involving audience members. "Keine Lust" the fourth single from Reise, Reise, was released on 28 February 2005. From 27 May to 30 July 2005, Rammstein played music festivals across Europe. Footage from these concerts can be seen on Rammstein's live DVD Völkerball, released in November 2006.
In August 2005, Rammstein revealed that the follow-up album to Reise, Reise would be called Rosenrot. Their first single from the album, "Benzin", was released on 5 October, with its video premiere on 16 September. Rosenrot was released worldwide on 28 October. Directly following the release, the album continued the success of its predecessor, Reise, Reise, placing on top 10 charts in 20 countries. 16 December 2005 marked the release of the title track on Rosenrot. The video for "Mann gegen Mann" was released on 6 February 2006, with the single being released on 3 March. On 19 February 2006, Rammstein had an asteroid named after them, 110393 Rammstein.[15]
On 17 November, the first Rammstein Live DVD since Live aus Berlin from 1998 was released. Völkerball shows concert performances by the band in England, France, Japan and Russia. The Special Edition is extended by a second DVD, which contains the documentaries "Anaconda in the net" by Mathilde Bonnefoy and the "Making of the album Reise, Reise" by the band's guitarist Paul Landers. The limited edition was released as a large black-and-white photo-book with photos by Frederic Batier, who had accompanied the band through their recent tours. The photo-book edition contains two DVDs and two live albums.
Liebe ist für alle da (2007–2011)
[edit]The band took a hiatus in 2006 and began work again in 2007. The recording process reportedly took two years. In July 2009, the title track "Liebe ist für alle da" leaked onto the internet, along with promotional materials. This led Universal Music to take action against certain fan sites.[16][17] It was confirmed in August 2009 that the new album would have 11 tracks,[18] and mixing of the album – which was taking place in Stockholm – had been completed.[19] On 1 September 2009, it was confirmed on the band's website that "Pussy" would be the first single from the album. On the same day, The Gauntlet posted a promotional video for it. The video also confirmed the album title, Liebe ist für alle da. Later, the title was confirmed again in an interview with Paul Landers for RockOne magazine. The music video for "Pussy" was released on 16 September 2009, at 20:30 GMT, released especially for the adult website Visit-x.[20] The video contains graphic scenes of male and female nudity as well as women engaging in sexual acts with the band members, although the actual sex scenes were performed by body doubles.[21] The women featured in the video are German pornographic stars.[22] Metal Hammer released an edited version of the video onto their website.[23]
"Ich tu dir weh" was confirmed as the second single from the album by Landers and Lorenz in an interview for Radio Eins. Although censorship of the song in Germany prohibits any advertisement, broadcast or public display, the video to "Ich tu dir weh" was released on 21 December 2009 on the adult website Visit-x, just like the video to "Pussy", after advertisement on the band's official German website; it depicts the band on stage in a similar configuration as on their 2009/10 tour. Any references to the video on the official website have since been deleted. In Europe, the single was released on 15 January 2010, and in the U.S. on 19 January 2010.[24] Like the video "Pussy," this video was also directed by Jonas Åkerlund. On 23 April 2010, Rammstein released their video "Haifisch" on the band's MySpace page. Unlike the video for "Ich tu dir weh", it contains more of a narrative rather than a performance.[25] The single was released during May and June 2010.[26]

On 8 November 2009, Rammstein began the first leg of the Liebe ist für alle da Tour in Lisbon, Portugal. As part of their European summer tour, Rammstein performed at the 2010 Rock AM Ring Festival on 4–6 June 2010.[27] They also headlined several shows across Europe on the Sonisphere Festival, including their first ever outdoor UK performance at Knebworth Park, performing the day before Iron Maiden. On Sunday 18 July 2010, Rammstein played in front of more than 130,000 people in Quebec City on the Plains of Abraham as the closing show for the Festival d'été de Québec. It was their first North American appearance in nine years. The band announced that their last tour dates of 2010 were to be in the Americas. After several South American dates, the band returned to the United States for a single show at the famous Madison Square Garden in New York City – their first US show in over ten years. The tickets sold out in a very short time (under 20 minutes).
They also performed at Bell Centre in Montreal, Canada on 9 December. This concert sold out within the first hour of tickets going on sale, indicating a high demand to see Rammstein in North America. The band then played at Big Day Out 2011 from 21 January to 6 February in New Zealand and Australia. The band also visited South Africa for the first time in early 2011 and played two sold-out concerts in Cape Town and Johannesburg respectively, indicating another territory eager for the opportunity to enjoy the band live. On 16 February 2011, Rammstein announced that, after the massive success of their sold out Madison Square Garden show on 11 December 2010, they would be touring North America after ten years.
Rammstein played in New Jersey (East Rutherford) Izod Center, Montreal Bell Centre, Toronto Air Canada Centre, Chicago Allstate Arena, Edmonton Rexall Place, Seattle Tacoma Dome, San Francisco (Oakland) Oracle Arena, Los Angeles The Forum, and Las Vegas Thomas and Mack Center, Mexico City's Palacio de los Deportes, Guadalajara's Arena VFG, and Monterrey's Auditorio Banamex to a total of six US dates, three Canadian dates, and four Mexican dates. Tickets went on sale 25 and 26 February to great response, with many shows completely selling out, making this tour a complete success. On 20 April 2011, the band also won the Revolver Golden God Award for Best Live Band, their first US award.
Made in Germany, video releases, and side projects (2011–2017)
[edit]
Rammstein released a greatest hits album titled Made in Germany 1995–2011 on 2 December 2011. It contains one previously unreleased track, "Mein Land" which was released as a single on 11 November 2011 with another track, "Vergiss uns nicht", that was released at a later date. The compilation is available in three editions: The standard edition; this includes a CD with normal songs from their back catalog. Special edition; has the same CD from the standard edition and an extra CD with Rammstein songs that have been remixed by different artists such as Scooter. Finally, the super deluxe edition; has the two previously mentioned CDs and three DVDs with interviews and the making of videos from different music videos. The video for the song "Mein Land" was filmed on 23 May 2011 at Sycamore Beach in Malibu, California. It premiered on the band's official website on 11 November 2011. A full European tour in support of Made in Germany began in November 2011 and spanned all the way to May 2012. It included a North American tour that began on 20 April 2012 in Sunrise, Florida and ended on 25 May 2012 in Houston, Texas that visited 21 cities throughout the US and Canada. The Swedish industrial band Deathstars supported the band during the first two legs of the European tour.[28] DJ Joe Letz from Combichrist and Emigrate was the opening act for the North American Tour.
Rammstein, minus Till Lindemann, performed "The Beautiful People" with Marilyn Manson at the Echo Awards on 22 March 2012. On 21 September 2012, it was announced that Rammstein would be headlining Download Festival 2013, along with Iron Maiden and Slipknot. Twelve additional festival performances for summer 2013 were announced the same day, including Wacken Open Air festival and Rock Werchter.[29] Rammstein announced new tour dates starting for spring 2013 in Europe,[30] including a 2-day return to Kindl-Bühne Wuhlheide, the location of their first (official) live DVD, Live Aus Berlin.[31] On 22 November 2012, Rammstein announced via Facebook that they will be releasing a video collection featuring all music videos entitled Videos 1995–2012, plus two unreleased music videos for "Mein Herz Brennt", originally featured on the album Mutter. The first video premiered on the band's Vimeo, while the second premiered on a promotional website. Both videos were directed by Zoran Bihac.[32] The first was released on 7 December 2012, and featured the newly recorded piano version of "Mein Herz Brennt". A single of the song was released on the same day, which included an edited version of the original and a new song titled 'Gib Mir Deine Augen' as a b-side.[33] The explicit version's video leaked onto the internet on 11 December 2012 but was officially released on 14 December, in conjunction with the video collection DVD.[34]
In July 2013, guitarist Paul Landers revealed in an interview the possibility of a Rammstein documentary and a live DVD. He indicated that the band may "start thinking" about a new album in 2014.[35] In September 2014, band co-founder Richard Kruspe (then working with his side band, Emigrate[36]) said the band was preparing some more live DVDs and that they were taking some time off from the studio. The band would meet again in 2015 to decide if the time was right to return to the studio.[37] In May 2015, Lindemann confirmed in an interview with MusikUniverse that Rammstein would start pre-production on a possible new album in September of that year, and that production would most likely go on until 2017.[38] According to Peter Tägtgren – who works with frontman Till Lindemann on their side-project Lindemann – Till would be regrouping with his Rammstein bandmates later in 2015 to start pre-production on a new full-length album, which normally takes two years to be released.[39]
In early August 2015, Rammstein released a trailer for an upcoming project, titled "In Amerika".[40] On 15 August, the band announced Rammstein in Amerika, a video release that includes a 2010 concert at Madison Square Garden in New York City and a documentary made from archived footage recorded during the band's career.[41] Rammstein played several festivals in Europe and North America during 2016,[42] and in November announced plans to perform at a similar string of European festivals in 2017.[43] On 18 January 2017 Rammstein announced a new live video release titled Paris, a recording of a March 2012 concert that took place at Palais Omnisports de Paris-Bercy in Paris.[44] It premiered on 23 March in selected cinemas,[45] and was released worldwide on DVD/Blu-ray and CD on 19 May 2017.[46]
Untitled seventh album and Zeit (2017–present)
[edit]In an interview in March 2017, Richard Kruspe said that Rammstein had about 35 new songs that were close to completion, though the release date of the band's seventh studio album was still an open question.[47] In May, Rammstein started touring once again. Also in May, it was revealed that Sky van Hoff would be working with the band on their next album.[48] On 18 June 2018, it was announced via StubHub's ticketing website that Rammstein would play songs at their Puerto Vallarta, Mexico, show from their forthcoming album, then set for release late in 2018.[49] On 17 September 2018, the band announced through Facebook that they were "almost done" recording the album, as they were recording orchestra and choirs in Minsk.[50] On 2 January 2019, guitarist Richard Kruspe announced that the recording of the album wrapped in November 2018 and that the record would be released in April 2019, along with five music videos.[51]

Rammstein released the first single from their seventh album, "Deutschland", on 28 March 2019[52] and announced the release date of their untitled seventh studio album, 17 May 2019. Rammstein also revealed the album cover which consisted of a single, unlit match which fans say represents their love of fire and simplicity.[53] On 26 April 2019, Rammstein released the second single from the new album, "Radio". Shortly after its release, the album reached No. 1 in fourteen countries.[54] On 28 May 2019, Rammstein released their third single and music video from the album, this time for "Ausländer".[55] The band embarked on their Stadium Tour to support the album, beginning in May 2019. They were due to play shows in Europe and North America in 2020, but were forced to postpone them due to the COVID-19 pandemic impacting the two continents. The dates first were rescheduled for 2021[56][57] and, in March 2021, again rescheduled to 2022.[58][59]
During the COVID-19 pandemic, which forced the band to remain sheltered during a lockdown in Germany, the band returned to writing music, which Christoph Schneider confirmed in a German podcast.[60] It was reported in September 2020 that they had returned to La Fabrique Studios in France, where they recorded their untitled seventh album, to record new music, potentially for a new album.[61] On 25 September, the 25th anniversary of their debut album Herzeleid, they announced a remastered anniversary edition for the album, for release on 4 December. The release was made available both digitally and physically, as a CD housed in a digipak as well as a double heavyweight, colored vinyl.[62]
In February 2021, Flake Lorenz confirmed to Motor Music that the band had finished recording an eighth studio album. Lorenz stated that the recording sessions were unplanned and that the quarantine caused by the pandemic allowed for "less distraction" and "more time to think of new things".[63] In October 2021, a song from the album was premiered on the International Space Station to French astronaut Thomas Pesquet.[64] According to composer Sven Helbig, who worked on the album, the album's release had been delayed due to the 2021–2023 global supply chain crisis, which impacted the album's physical releases.[65] Richard Kruspe affirmed in an interview that Rammstein's eighth studio album would be released in the first half of 2022, prior to the slated resumption of their Stadium Tour that had been postponed to 2022.[66]
Rammstein began teasing the first single from their eighth studio album on 8 March 2022, posting clips to their social media accounts with the hashtag "#ZEITkommt".[67] On 10 March, they formally announced the album, titled Zeit, revealing its release date of 29 April 2022. The release of the title track as the album's lead single, along with its music video, coincided with the announcement.[68] The second single from Zeit, "Zick Zack", was released on 7 April with its accompanying music video.[69] The third single from Zeit, "Angst", was released on 29 April with its accompanying music video.[70] On 25 November 2022 Rammstein released the music video for the song "Adieu" on their official YouTube channel.[71]
Musical style and lyrics
[edit]By comparison, American heavy metal bands seem clumsy, childish, and anemic.

The Denver Post wrote that "[Rammstein] proved that they not only synthesized the Neue Deutsche Härte genre, but that they successfully made it an art."[73] Pioneers of the genre, Rammstein's style blended "alt-metal, groove and electronica".[74] The Guardian wrote, "Ostensibly the world's biggest industrial metal band, Rammstein sound like a mixture of Laibach's situationist anthems, Front 242's 'electronic body music', German drinking songs, opera [and] T Rex-like riffs".[75] Loudwire wrote that the band's "jawdropping, pyro-filled live shows have become as much a part of their identity as their gothy, distortion-saturated melodic electro-metal".[76] IGN said that "The band alternates repetitive metal power chords and atmospheric tones for a mind-numbing blend of metal and electronic music."[77] Rammstein were also described as a gothic metal band who are "Marilyn Manson meets 'Sprockets'".[78] The Bulletin wrote that "Rammstein crank out the kind of symphonic metal you'd expect from a country that boasts Wagner among its favourite sons."[79] AllMusic described the band's music as blending "industrial noise, grinding metal guitars, and operatic vocals".[80] PopMatters said that Rammstein was "mistakenly lumped in with the nu-metal fad that was going on at the same time" as the band's debut.[81]
Rammstein was traditionally inspired by bands such as the Slovenian group Laibach, known for its provocative songs, often citing political symbols of the far-right[82] and whose music style also combines different genres, or the German rock band Oomph![83] However, the band members do not see a real connection to Laibach – apart from the similarity in vocal style which Flake Lorenz admitted in a Viva interview from 1997. In the same interview Richard Kruspe said: "For me, Laibach is a very, very intellectual story. Rammstein is much more emotional for me – in the beginning. And I can't do anything with that intellect that Laibach uses."[84]
Unlike many bands from Berlin in the early 1990s, Rammstein did not want to imitate American or English bands. Flake Lorenz said in an interview: "We found the style by knowing exactly what we didn't want. And we just didn't want to do American funky music or punk or anything we can't do. We realized that we can only do this music that we also play. And it's just very simple, dull, monotone."[85]
Rammstein's style has received positive feedback from critics. New Zealand's Southland Times (17 December 1999) suggested that Till Lindemann's "booming, sub-sonic voice" would send "the peasants fleeing into their barns and bolting their doors", while The New York Times (9 January 2005) commented that on the stage, "Mr. Lindemann gave off an air of such brute masculinity and barely contained violence that it seemed that he could have reached into the crowd, snatched up a fan, and bitten off his head". Stephen Thomas Erlewine of AllMusic commented that "their blend of industrial noise, grinding metal guitars, and operatic vocals is staggeringly powerful".[80] "We just push boundaries", said Till Lindemann in an interview with rock magazine Kerrang!, "We cannot help it if people don't like those boundaries being pushed".
Nearly all of Rammstein's songs are in German. Educated in East German schools, the members were all taught Russian as a second language rather than English. In 2019, Flake commented: "I saw a lot of East German bands that sung in very bad English to people who didn't understand English – it was absolutely stupid. But if you really want to tell your emotions, you have to speak in your mother tongue."[2] Songs they have recorded entirely or partly in English include: a cover of Depeche Mode's 1986 song "Stripped" and English renditions of "Engel", "Du hast", and "Amerika". The original version of "Amerika" as well as "Stirb nicht vor mir (Don't Die Before I Do)" and "Pussy" also contain some lyrics in English. The song "Moskau" ("Moscow") contains a chorus in Russian, and Till Lindemann has an unofficial song called "Schtiel" (cover of song "Штиль" / "Shtil" by Russian popular heavy metal band Aria) entirely in Russian.[86] "Te quiero puta!" is entirely in Spanish, "Frühling in Paris" has a chorus in French, "Zeig dich" contains lyrics in Latin performed by a choir and "Ausländer" has lyrics in English, French, Spanish, Italian, and Russian. Oliver Riedel commented that "[the] German language suits heavy metal music. French might be the language of love, but German is the language of anger".[86] In an interview with Ultimate Guitar, when asked whether Rammstein would ever create an original song entirely in English, Till Lindemann stated that they might not, because "It's like asking the Buddha to kill a pig or something".[87]
The band's lyrics, as sung by Till Lindemann, are an essential element of their music, and shape the perception by fans and a wider public. Among other things that are seen as controversial, Rammstein also refers to classical German literature, e.g. Johann Wolfgang von Goethe's famous poems Der Erlkönig (1778) and Das Heidenröslein (1771) for the songs "Dalai Lama" and "Rosenrot", respectively.[88] Several of their songs are related to controversial and taboo subjects such as sadomasochism ("Weisses Fleisch", "Bück dich", "Rein raus" and "Ich tu dir weh"), homosexuality (Mann gegen Mann), intersexuality ("Zwitter"), incest ("Laichzeit", "Tier", "Spiel mit mir" and "Wiener Blut"), pedophilia ("Weisses Fleisch", "Tier", "Halleluja" and "Hallomann"), necrophilia ("Heirate mich"), zoophilia ("Laichzeit"), cannibalism ("Mein Teil"), pyromania ("Benzin" and "Hilf mir"), religion ("Asche zu Asche", "Engel", "Bestrafe mich" and "Zeig dich") and sexual violence ("Wollt ihr das Bett in Flammen sehen", "Rein raus" "Stein um Stein" and "Liebe ist für alle da"). Also several of their songs are allegedly inspired by real-life events. These songs include "Rammstein" (Ramstein air show disaster), "Mein Teil" (The Meiwes Case), "Wiener Blut" (Fritzl case) and "Donaukinder" (2000 Baia Mare cyanide spill). Their fourth album, Reise, Reise, is loosely inspired by the crash of Japan Air Lines Flight 123.[89] The band have also occasionally delved into politics with their lyrics. "Amerika" is a critique of the cultural and political imperialism of the United States all over the world. The lyrics of the song "Deutschland" contain the lines "Deutschland! / Meine Liebe / kann ich dir nicht geben" (Germany! / My love / [is what] I cannot give you), which conveys the band's inability to have unquestioned patriotic feelings.[90]
Live performances
[edit]
Since their early years,[2] Rammstein are particularly known for their over-the-top live performances, making such extensive use of pyrotechnics that fans eventually coined the motto, "Other bands play, Rammstein burns!" (a play on Manowar's song "Kings of Metal", which states that "other bands play, Manowar kill"). Following an accident in Berlin on 27 September 1996, in which some burning decorative parts of the stage collapsed,[91] the band started using professionals to handle the pyrotechnics. Lindemann subsequently qualified as a licensed pyrotechnician, and often spends entire songs engulfed in flames. He has suffered multiple burns on his ears, head, and arms.
The band's stage costumes are also known for being outlandish. During the Reise, Reise Tour, they wore lederhosen, corsets, and military-inspired uniforms with German steel helmets; during the Mutter Tour, the group kept to the themes of the album artwork and descended onto the stage from a giant uterus while wearing diapers. During the Völkerball concert, among others, Lindemann changed costumes between songs and dressed accordingly for each. For example, for the song "Mein Teil", he was dressed as a blood-soaked chef; in "Reise, Reise", he dressed as a sailor. The rest of the band each wore their own preferred costume, but none quite as bizarre as Till's. The band's flair for costumes is evident in their music videos as well as their live shows. In the "Keine Lust" video, all members except Lorenz are dressed in fat suits. In the "Amerika" video, all members of the band wear astronaut costumes.
Since the Mutter Tour in 2001, Rammstein have worked with stage designer Roy Bennett, who helped the band in developing the look of the stages. With the Ahoi Tour in 2004/2005, the band began using a two-level stage, with half the band playing the lower level and the other half on the upper level. At this tour, the upper level rose over 2 meters above the stage floor and had an oval entrance just beneath the drums. At both sides of the upper level, a special lift made it possible for the band members to access both stage levels.

On the Liebe ist für alle da Tour in 2009, the new stage still had a two-level design. This time, however, the upper level only had about half the height as on the previous tour. Stage entrance was possible by a hydraulic ramp in the middle of the stage floor. At each end of the upper level, stairs were placed in order to gain access to both levels. This tour included not only the extensive use of pyrotechnics, but also a massive lighting show, such as the band's logo lit up as big lamps on four enormous collapsible towers, forming the industrial backdrop of the set and being capable of different lighting effects.
During the arena shows of the Made in Germany 1995-2011 Tour, the stage was slightly altered with new set pieces such as a large industrial fan as well as new backdrops. The most noticeable addition was a long catwalk, connecting the main stage to a smaller stage in the middle of the audience. During the 2013 festival leg of the tour, the bridge and smaller stage were omitted. For the 2016 Festival Tour, the band kept the stage itself mostly unchanged, though had the entire lighting rig changed completely. According to Kruspe, the onstage antics are meant to get people's attention and have fun at the same time; Rammstein's motto, according to Schneider, is "do your own thing and overdo it".
Kruspe said of the stage show in July 1999, "You have to understand that 99 per cent of the people don't understand the lyrics, so you have to come up with something to keep the drama in the show. We have to do something. We like to have a show; we like to play with fire. We do have a sense of humour. We do laugh about it; we have fun [...] but we're not Spinal Tap. We take the music and the lyrics seriously. It's a combination of humour, theatre, and our East German culture, you know?"[92]
Their antics have also garnered controversy. During the American Family Values Tour 1998, alongside acts such as rapper Ice Cube, Korn, and Limp Bizkit, the band was arrested for public indecency. In one of their more infamous moments, Lindemann engaged in simulated sodomy with Lorenz during their performance of "Bück dich" in Worcester, Massachusetts. They were subsequently arrested, fined $25 and spent one night in jail.[93][94]
Controversies
[edit]Imagery
[edit]The New York Times described Rammstein's music as a "powerful strain of brutally intense rock... bringing gale-force music and spectacular theatrics together".[95] The members have not been shy about courting controversy and have periodically attracted condemnation from morality campaigners. Till and Flake's stage act earned them a night in jail in June 1999 after a liquid-ejecting dildo was used in a concert in Worcester, Massachusetts. Back home in Germany, the band faced repeated accusations of fascist sympathies because of the dark and sometimes militaristic imagery of their videos and concerts, including the use of excerpts from the film Olympia by Leni Riefenstahl in the video for their cover of Depeche Mode's song "Stripped". MTV Germany studied the lyrics, talked to the band and came away satisfied that Rammstein are apolitical; Peter Ruppert, then head of Music Programming at MTV Germany, stated that the band "aren't in any way connected with any right-wing activities".[96]
Their cover of their debut album Herzeleid, released in Germany in 1995, showed the band members bare-chested in a style that resembled Strength Through Joy in the eyes of some critics, who accused the band of trying to sell themselves as "poster boys for the Master Race".[97] Rammstein have vehemently denied this and said they want nothing to do with politics or supremacy of any kind. Lorenz, annoyed by the claim, has remarked it is just a photo, and should be understood as such. Herzeleid has since been given a different cover in North America, depicting the band members' faces.
The video of "Deutschland", released in 2019, sparked further controversy, as it portrays black German actress Ruby Commey appearing as Germania, which has been described as "a calculated affront to German nationalists".[98] The video also portrays the band members both as Nazi concentration camp executioners and as Jewish prisoners, sparking the complaints of Holocaust survivor groups; however, others defended the video and the song lyrics, which have been interpreted as "express[ing] a love/hate relationship with Germany".[99]
Relation to violent events
[edit]Rammstein were cited in relation to the Columbine High School massacre in 1999, when a photo of Eric Harris wearing a Rammstein T-shirt in the 11th grade was revealed.[100] There was no evidence to correlate the band and the massacre. In response to the shooting, the band issued a statement:
The members of Rammstein express their condolences and sympathy to all affected by the recent tragic events in Denver. They wish to make it clear that they have no lyrical content or political beliefs that could have possibly influenced such behaviour. Additionally, members of Rammstein have children of their own, in whom they continually strive to instill healthy and non-violent values.[101][102]
Coincidentally, on 10 September 2001 the single and video clip of "Ich will" ("I Want") was released, which portrays the band as bank robbers who want to get a message across and receiving a Goldene Kamera (Golden Camera) award, a German version of the Emmy award, for their "actions". In the United States, the video clip was broadcast only late at night after the attacks of 11 September 2001, although many media officials and politicians requested the video to be pulled from broadcast completely.
Following the conclusion of the Beslan school hostage crisis in Russia in September 2004, the Russian authorities claimed that the terrorists had "listened to German hard rock group Rammstein on personal stereos during the siege to keep themselves edgy and fired up".[103] The claim has not been independently confirmed.
Band members said this about the issue:
There's been a lot of talk about that, but if there are radical feelings in people anything can wake them – a painting, a picture, whatever. It's just a coincidence that it happened to be our music. It's important to think about what caused them to make their decisions, how they became animals, not their taste in music. Whenever something like this happens it's like 'Okay, let's blame the artist'. Such bullshit.
— Till Lindemann
Our music is made to release aggression, and people listening to it are also needed to do that, but it's not our fault. Should we stop making hard music because bad people might like it?
— Christoph Schneider
Pekka-Eric Auvinen, the perpetrator of the Jokela school shooting in November 2007, also included Rammstein in one of his favorite bands. However, he noted that the music among other things was not to blame for his decisions.[104]
Elliot Rodger, the perpetrator of the Isla Vista killings in May 2014, was also a fan of Rammstein according to his YouTube records. On a lyric video of Mein Herz brennt, Rodger wrote: "[G]reat song to listen to while daydreaming about being a powerful ruler". Even though Rodger wrote in his manifesto that he wished to become a dictator and punish all the people who rejected him, there was no direct link found between the band's music and the killing spree.[105] Santa Barbara police later confirmed that Rodger's main motivations were sexual and social rejection.[106]
The Trollhättan school attack perpetrator, Anton Lundin Pettersson, used a manipulated version of the band's logo that added Nazi Germany's eagle on his Facebook page.
Videos
[edit]In October 2004, the video for "Mein Teil" ("My part") caused controversy in Germany when it was released. It takes a darkly comic view of the Armin Meiwes cannibalism case, showing a cross-dressed Schneider holding the other five band members on a leash and rolling around in mud.
The band's own views of its image are sanguine; Landers has said: "We like being on the fringes of bad taste".[107] Christian "Flake" Lorenz comments: "The controversy is fun, like stealing forbidden fruit. But it serves a purpose. We like audiences to grapple with our music, and people have become more receptive".[108]
The video for "Pussy" was released September 2009. It features hardcore pornographic scenes of nudity along with women engaging in sexual activity with body doubles of the band members.[109]
Placement on the Index
[edit]On 5 November 2009, their sixth studio album Liebe ist für alle da was placed on the Index of the Federal Department for Media Harmful to Young Persons (Bundesprüfstelle für jugendgefährdende Medien, or BPjM), making it illegal in Germany to make the album accessible to minors or display it where it can be seen by people underage, effectively banning it from stores.[110][111] According to the official statement of the BPjM, the depiction of lead guitarist Richard Kruspe holding a woman wearing only a mask over his knee and lifting his hand to strike her behind has given cause for offense, as well as the lyrics to "Ich tu dir weh" (meaning "I hurt you") which supposedly promoted dangerous BDSM techniques. Furthermore, the advisory board took into consideration the alleged promotion of unprotected sexual intercourse in the lyrics to "Pussy".
The band, as well as several members of the German press, reacted with astonishment to the decision. Keyboardist Christian Lorenz expressed surprise at the advisory board's "parochial sense of art" and regretted their apparent inability to detect irony.[112][113] On 16 November 2009, a stripped-down version of Liebe ist für alle da was released. As of 31 May 2010, the administrative court in Cologne had decided to suspend the inclusion into the Index (case 22 L 1899/09). The German department deleted the record from the Index on 1 June (Decision No. A 117/10). On 9 June, the band announced that the original version of the album was available in their shop and that the single "Ich tu dir weh" would soon be released in Germany. In October 2011, the album was judged not harmful to minors and deleted from the Index.[114]
In 2016, Rammstein filed a lawsuit against the German state claiming €66,000 in compensation for damages that had allegedly resulted from the indexing, chiefly the destruction or withholding of 85,000 copies of the album that the band says would have otherwise sold.[115]
Concert misconduct allegations
[edit]In May 2023, a woman claimed that her drink was spiked (drugged) during a Rammstein concert in Lithuania and was selected for an aftershow party, during which she was ushered into a small room underneath the stage for lead singer Till Lindemann. After making herself unavailable for sex, she claimed Lindemann reacted angrily and left. While emphasising that she was never assaulted, she believed there to be an "organised system of funnelling girls."[116] Although Vilnius prosecutors found no evidence of drugging, her story amplified the band's "Row Zero" practice, where young women would be pre-selected on social media by casting director Alena Makeeva to stand in an exclusive area closest to the stage dubbed Row Zero and attend pre-show and after-show parties, during which Lindemann would request to have sex with fans in attendance.[117] Further claims against Lindemann prompted an investigation by German police for sexual offences and the distribution of narcotics.[118] In response, the band denied all claims of illegal behavior, fired Makeeva and halted the "Row Zero" afterparties.[119][120]
In view of the allegations, Rammstein's label Universal announced that it would be suspending all promotional activities for Rammstein's albums.[121] Universal also confirmed a press report that it had confidentially requested the German Music Industry Association BVMI not to include the 25th anniversary re-release of Sehnsucht in the official album charts, regardless of its actual sales figures, and that the request had been authorized by the band itself.[122] Various other companies including Kiepenheuer & Witsch and Rossmann also halted joint ventures with the band.[123][124][125][126]
On 29 August, the German prosecutors announced that they dropped the case, saying that the investigations did not unearth any evidence of a crime.[127] The investigations were originally taken up because of complaints filed by unaffected third persons who were unable to identify any victim. While alleged victims sent sworn statements to journalists, none of those women filed a criminal complaint, and therefore the police were unable to contact and interview them. Also, the journalists had promised the alleged victims anonymity, and made use of their legal right to keep their sources secret.[128]
On 30 October, the Rammstein Instagram account announced in its story that Shelby Lynn could not prove in court that she had been given drugs, and was therefore prohibited from continuing to claim this.[129]
Political views
[edit]Rammstein fights with sarcasm and satire against the "bland americanization" of local cultures in "Amerika" by attacking US Cultural imperialism in the form of popular culture, food, fashion, and yes, even politics.
Early on, Rammstein were accused by media outlets in Germany of being neo-Nazis due to their imagery. The band released the song "Links 2-3-4" (Links being German for "left") in 2001 to affirm to the public that they reside on the left of the political spectrum. In a 2011 interview with Rolling Stone Germany, when asked about Nazi accusations, Lindemann stated "We come from the East and we have grown up as socialists. We used to be either punks or Goths – we hate Nazis! And then suddenly there is such a far-fetched accusation. We are doing exactly the same thing today, but no one in America or in Mexico would even get the idea to come up with something like that. This only happens in Germany. Our reply to this animosity was 'Links 2-3-4', and with that we had made it clear where we stand politically."[131] Regarding the song, Kruspe said: "'My heart beats on the left, two, three, four'. It's simple. If you want to put us in a political category, we're on the left side, and that's the reason we made the song".[132] The song's title refers to the refrain of the German Communist Party song Einheitsfrontlied, written by Bertholt Brecht: "Drum links, zwei, drei! Drum links, zwei, drei! / Wo dein Platz, Genosse ist! / Reih dich ein, in die Arbeitereinheitsfront / Weil du auch ein Arbeiter bist".[133] (Turn left, two, three! Turn left, two, three! / Here's the place, Comrade, for you! / So fall in with the Workers' united front / For you are a worker too.) Another key lyric expressing the band's allegiance to the left paraphrases the titles of newspaper columns published side by side for several years in the German newspaper Bild: "Mein Herz schlägt links" ("My heart beats on the left") by The Left Party co-chair and former Social Democratic Party of Germany chair Oskar Lafontaine, and "Mein Herz schlägt auf dem rechten Fleck" ("My heart beats in the right place") by Peter Gauweiler of the conservative Christian Social Union.[134] Lorenz stated that the song was created to show the band could write a harsh, evil, military-sounding song without being Nazis.[135]
The band also wrote the song "Amerika" as a critique of the worldwide cultural and political imperialism of the United States. In their book Envisioning Social Justice in Contemporary German Culture, Jill E. Twark and Axel Hildebrandt found that the song's text and most of its video's images point toward a critique of America's cultural imperialism, political propaganda, and self-assumed role as global police force. The song responds critically to the US invasion of Iraq in 2003. They also found that another song of theirs that is critical of the United States is "Mein Land", believing that it critiques American racism and nationalism.[130]
During the Eastern European leg of their Europe Stadium Tour, the band showed support for the LGBT community on several occasions. At a concert in Chorzów, Poland on 24 July 2019, drummer Christoph Schneider surfed the crowd in a rubber boat, holding a rainbow flag. At their concert in Moscow five days later, guitarists Kruspe and Landers kissed onstage, while they embraced each other during a concert in Saint Petersburg on 2 August.[136] The band's support for gay rights was met with criticism from some Russian politicians. Vitaly Milonov, a member of the State Duma, called the band "idiots" and said: "If they think it possible to behave in such a way, they should also consider it possible to keep this garbage away from us."[137]
Band members
[edit]Rammstein follow their own rhythm. We never give a shit about the people who think we need to get a record out every two years and that's one of the reasons why we're still together with the same lineup. We take care of each other, and if somebody needs to take the time off or do something else, we listen.
Since forming in 1994, Rammstein have retained a constant line-up. Richard Kruspe had said in a Revolver Magazine interview that it is because of the band respecting each other's wishes to take a break, either for personal reasons or to focus on a side project.[138] Members of the band have had side projects that they take part in during Rammstein's inactivity. Kruspe currently fronts the group Emigrate while Till Lindemann began his project Lindemann in 2015.
- Till Lindemann – lead vocals
- Richard Kruspe – lead guitar, backing vocals
- Paul Landers – rhythm guitar, backing vocals
- Oliver Riedel – bass guitar
- Christoph Schneider[a] – drums, percussion
- Christian "Flake" Lorenz[b] – keyboards, synthesizers
Discography
[edit]Studio albums
- Herzeleid (1995)
- Sehnsucht (1997)
- Mutter (2001)
- Reise, Reise (2004)
- Rosenrot (2005)
- Liebe ist für alle da (2009)
- Untitled album (2019)
- Zeit (2022)
Tours
[edit]- Club Tour (1994–1995)
- Herzeleid Tour (1995–1997)
- Sehnsucht Tour (1997–2001)
- Family Values Tour 1998 (22 September 1998 – 31 October 1998)
- Mutter Tour (2001–2002)
- Pledge of Allegiance Tour (2001; in between the August–November dates of the Mutter Tour)
- Ahoi Tour (Reise, Reise Tour) (2004–2005)
- Liebe ist für alle da Tour (2009–2011)
- Made in Germany 1995–2011 Tour (2011–2013)
- Rammstein Tour 2016 (2016)
- Festival Tour (2017)
- Rammstein Stadium Tour (2019–2024)
Awards and honours
[edit]Grammy Awards
| Year | Nominee / work | Award | Result |
|---|---|---|---|
| 1999 | "Du hast" | Best Metal Performance | Nominated |
| 2006 | "Mein Teil" | Nominated |
See also
[edit]Notes and references
[edit]- Notes
- References
- ^ Kruspe, Richard Z. (18 December 2018). "Rammstein Guitarist: "I Don't Want to be Another KISS."". MetalSucks. Retrieved 7 July 2019.
- ^ a b c d e f g h i j Everley, Dave (4 July 2019). "Rammstein: The birth of a legend". Metal Hammer. Future plc. Retrieved 8 January 2021.
- ^ "Rammstein: Sons of East German punk – DW – 07/26/2019". dw.com. Retrieved 16 April 2024.
- ^ Pilz, Michael (5 May 2013). "Rammstein oder der Triumph des Brüllens". Die Welt. Retrieved 27 June 2015.
- ^ Galenza, Ronald; Havemeister, Heinz (2002). Feeling B. Mix mir einen Drink. Berlin: Schwarzkopf & Schwarzkopf. p. 262. ISBN 3-89602-418-3.
- ^ Rammstein – Who are they? (Full interview with English subtitles). YouTube. 30 August 2012. Archived from the original on 11 December 2021.
- ^ Galenza, Ronald; Havemeister, Heinz (2002). Feeling B. Mix mir einen Drink. Berlin: Schwarzkopf & Schwarzkopf. p. 377. ISBN 3-89602-418-3.
- ^ "Rammstein :: Band :: Timeline". Rammstein.com. Archived from the original on 13 June 2008. Retrieved 21 June 2008.
- ^ Coldheart, Stef (6 May 2016). "Project Pitchfork: Great bands can be really great bastards". Peek-a-boo Music Magazine. Retrieved 8 October 2024.
- ^ "Project Pitchfork Tour 1995". rammstein.de. 14 October 1995. Retrieved 8 October 2024.
- ^ "Clawfinger Tour 1995". rammstein.de. 27 November 1995. Retrieved 8 October 2024.
- ^ "Rammstein :: Band :: Timeline". Rammstein.com. Archived from the original on 13 June 2008. Retrieved 21 June 2008.
- ^ "History-Rammstein". Rammstein.de. Archived from the original on 27 March 2015. Retrieved 26 March 2015.
- ^ "Mutter Limited Tour Edition 2001 – 2 CD – Rammstein | Download Rapidshare Megaupload Hotfile Music". gidipi. 14 January 2011. Archived from the original on 1 April 2011. Retrieved 21 July 2011.
- ^ "110393 Rammstein, 2001 TC8". NASA. Retrieved 10 February 2015.
- ^ "New Rammstein Song 'Liebe Ist Fur Alle Da' Leaked". Alt-UK, 20 July 2009.
- ^ "What's going on? Archived 11 February 2005 at the Wayback Machine". Herzeleid.com. Retrieved 10 August 2009.
- ^ "Rammstein Official Website News Confirms 11 Tracks". Archived from the original on 16 August 2009. Retrieved 15 August 2009.
- ^ "Rammstein Official Website News Confirms Mixing Has Finished". Archived from the original on 16 August 2009. Retrieved 15 August 2009.
- ^ "Rammstein presents Pussy". Archived from the original on 24 January 2010. Retrieved 16 September 2009.
- ^ "Rammstein: "Wir hatten keinen Sex"". 20 Minuten. 14 October 2009.
- ^ "Rammstein". Hustler Magazine. Archived from the original on 29 September 2010.
- ^ "Metal Hammer Work Safe 'Pussy' synopsis The Rammstein video described for those at work". Archived from the original on 25 September 2010. Retrieved 8 September 2010.
- ^ "Die Rammsteinseite Nr.1". Rammstein Austria. Retrieved 21 July 2011.
- ^ "Rammstein: 'Haifisch' Video Released". blabbermouth.net. 23 April 2010. Retrieved 8 September 2010.
- ^ "Rammstein tracklisting for Haifisch single revealed". Archived from the original on 7 May 2010. Retrieved 8 September 2010.
- ^ "Rammstein confirmed for Rock am Ring". Metalhammer.co.uk. Archived from the original on 10 June 2013.
- ^ "Ankündigung: Nord Amerika Tour 2012". Rammstein.de. Archived from the original on 4 March 2012. Retrieved 27 March 2012.
- ^ "Rammstein confirm festivals in 2013!?". Rammstein.de. Archived from the original on 26 November 2012. Retrieved 13 December 2012.
- ^ "Rammstein confirms additional shows for 2013!". Rammstein.de. 22 November 2012. Archived from the original on 19 November 2012. Retrieved 13 December 2012.
- ^ "Rammstein live in Berlin 2013!". Rammstein.de. Archived from the original on 4 December 2012.
- ^ "Video Premiere 'Mein Herz brennt' (Explicit Version)". Rammstein.de. Archived from the original on 2 June 2013. Retrieved 13 December 2012.
- ^ "Mein Herz Brennt Single/videoclip Finally Confirmed". En.affenknecht.com. Archived from the original on 17 January 2013. Retrieved 13 December 2012.
- ^ "Single: "Mein Herz Brennt" + Video Collection". Rammstein.de. Archived from the original on 13 December 2012. Retrieved 22 November 2012.
- ^ "Vieilles Charrues. Rammstein prêt à enflammer Carhaix" (in French). Ouest-france.fr. 15 October 2013. Retrieved 25 February 2014.
- ^ "Rammstein Guitarist's Emigrate: More 'Silent So Long' Album Details Revealed". Blabbermouth.net. 28 August 2014. Retrieved 13 September 2014.
- ^ "Richard Kruspe on the future of Rammstein". Metal Hammer. Team Rock. 11 September 2014. Retrieved 13 September 2014.
- ^ "Lindemann – Interview 2015 – (Till and Peter)". Musikuniverse.mu (Interview). 14 May 2015. Archived from the original on 4 September 2015.
- ^ Barkan, Jonathan (27 May 2015). "[Interview] Peter Tägtgren on Lindemann: "It's A Party Album"". Bloody Disgusting. Retrieved 24 June 2015.
- ^ "Rammstein Tease Mysterious In Amerika Release". Kerrang!. 6 August 2015. Retrieved 14 April 2017.
- ^ "Rammstein Announce 'In Amerika' Documentary, Concert Film". Rolling Stone. 15 August 2015. Archived from the original on 15 April 2017. Retrieved 14 April 2017.
- ^ "Waldbühnen-Premiere: Rammstein treten im Juli zweimal in Berlin auf". Rolling Stone. 13 April 2016. Retrieved 14 April 2017.
- ^ "Rammstein Announce 2017 Tour Dates". Antimusic.com. 23 November 2016. Retrieved 14 April 2017.
- ^ "Rammstein To Release 'Paris' DVD, Blu-Ray; First Trailer Available". Blabbermouth.net. 18 January 2017. Retrieved 14 April 2017.
- ^ "Rammstein's 'Paris' Documentary Getting Theatrical Release". Blabbermouth.net. 20 January 2017. Retrieved 14 April 2017.
- ^ "Rammstein to Unleash 'Rammstein: Paris' Concert Film + Album on May 19". Loudwire. 24 March 2017. Retrieved 14 April 2017.
- ^ "Rammstein Have '35 Songs Almost Finished' In Preparation For Next Album". Loudwire. 27 March 2017. Retrieved 14 April 2017.
- ^ "Rammstein – Sky Van Hoff". Skyvanhoff.com. Archived from the original on 23 May 2017. Retrieved 29 May 2017.
- ^ "Rammstein To Release New Album In 2018". Loudwire. Retrieved 19 June 2018.
- ^ "Almost done! Orchestra and choir recordings in Minsk for album No. 7!". Facebook. Archived from the original on 26 February 2022. Retrieved 17 September 2018.
- ^ "Rammstein Will Release Five Music Videos From The New Album". 2 January 2019. Retrieved 2 January 2019.
- ^ "Deutschland". Retrieved 28 March 2019.
- ^ "What does Rammstein's new 'Matchstick' album artwork actually mean and symbolise". April 26, 2019. Retrieved April 26, 2019.
- ^ Spahr, Wolfgang (30 May 2019). "Universal Music Germany Salutes Rammstein as Band's First Studio Album in Decade Sets Records". Billboard. Retrieved 4 June 2019.
- ^ "Rammstein unleash 'Ausländer' Music Video". Wall Of Sound. 28 May 2019. Retrieved 28 May 2019.
- ^ "Europe stadium tour rescheduled to 2021". rammstein.de. 19 May 2020. Archived from the original on 20 May 2020. Retrieved 4 October 2020.
- ^ "North America stadium tour rescheduled to 2021". rammstein.de. 16 July 2020. Archived from the original on 17 July 2020. Retrieved 4 October 2020.
- ^ "Europe stadium tour postponed again to 2022". rammstein.de. 24 March 2021.
- ^ "North America stadium tour rescheduled to 2022". rammstein.de. 24 May 2021.
- ^ Kaufman, Spencer (15 June 2020). "Rammstein Working on New Songs While in Lockdown". Consequence. Retrieved 20 February 2022.
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Best-known for their freaked-out live shows, which feature simulated sex and enough flames to interest the fire brigade, Rammstein crank out the kind of symphonic metal you'd expect from a country that boasts Wagner among its favourite sons.
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- ^ a b Wiederhorn, Jon (2015). "The Brutal Truth: Emigrate". Revolver Magazine (119): 41.
Further reading
[edit]- Barry Graves, Siegfried Schmidt-Joos, Bernward Halbscheffel: Das neue Rock-Lexikon. Bd 1. Rowohlt, Reinbek bei Hamburg 1998. ISBN 3-499-16352-7.
- Barry Graves, Siegfried Schmidt-Joos, Bernward Halbscheffel: Das neue Rock-Lexikon. Bd 2. Rowohlt, Reinbek bei Hamburg 1998. ISBN 3-499-16353-5.
- Rammstein: Rammstein – Liederbuch. Hal Leonard Corporation, London 1999. ISBN 0-7119-7220-6.
- Wolf-Rüdiger Mühlmann: Letzte Ausfahrt – Germania. Ein Phänomen namens neue deutsche Härte. I.P. Verlag, Berlin 1999, ISBN 3-931624-12-9.
- Gert Hof: Rammstein. Die Gestalten Verlag, Berlin 2001, ISBN 3-931126-32-3.
- Matthias Matthies: Rammstein – Deutschlandtour 2001. Berlin 2002.
- Andreas Speit: Ästhetische Mobilmachung – Dark Wave, Neofolk und Industrial im Spannungsfeld rechter Ideologien., Unrast 2001. ISBN 3-89771-804-9.
- Michele Bettendorf: Ursprung Punkszene. Oder Rammstein hätte es im Westen nie gegeben. Books on Demand GmbH, 2002. ISBN 3-8311-4493-1.
- Till Lindemann und Gert Hof: Messer. Eichborn, Frankfurt M 2002. ISBN 3-8218-0730-X.
- Michael Fuchs-Gamböck und Thorsten Schatz: Spiel mit dem Feuer – Das inoffizielle Rammstein-Buch. Heel, Königswinter 2006. ISBN 3-89880-661-8.
- Frédéric Batier: Rammstein – Völkerball. 2006. ISBN 3-8291-18694.
- Ulf Zander: Left, Right or Wrong? Rammstein Playing with Symbols of Sex, Violence and Dictatorship as a Test of Democracy. HumaNetten No. 52, 2024.
External links
[edit]- Official website
- Rammstein discography at MusicBrainz
- Rammstein discography at Discogs
- Rammstein at deutsche-mugge.de (in German)
- Works by and about Rammstein in the German National Library catalogue
Rammstein
View on GrokipediaHistory
Founding and Early Years (1989–1994)
Guitarist Richard Kruspe initiated the band's formation after fleeing East Germany to West Berlin in 1989 amid the collapse of the Berlin Wall, where he briefly fronted the punk-influenced group Orgasm Death Gimmicks before returning east to pursue heavier influences drawn from American industrial and metal acts.[11] In the chaotic post-reunification environment of early 1990s East Germany, marked by economic dislocation and cultural flux, Kruspe sought collaborators from the underground punk networks that had thrived under the GDR regime, including remnants of bands like Feeling B—featuring guitarist Paul Landers and keyboardist Christian Lorenz—and First Arsch, where Till Lindemann had drummed since 1986.[12] [13] By 1994, Kruspe had assembled an initial core with bassist Oliver Riedel (formerly of Inchtabokatables) and drummer Christoph Schneider (from Die Firma), then recruited Lindemann for vocals after convincing the physically imposing ex-swimmer and basket-weaver to transition from drumming, leveraging their shared regional ties in Schwerin and Berlin's punk circuits.[11] [1] Landers and Lorenz soon joined on guitar and keyboards, respectively, solidifying the lineup through informal auditions and mutual connections without major changes, as the group coalesced around Kruspe's vision for a provocative, theatrically intense sound distinct from the English-lyric norm in metal.[14] Early rehearsals occurred in a dilapidated Berlin squat, reflecting grassroots bootstrapping amid label disinterest, with initial demos repeatedly rejected due to their raw, unconventional demos and commitment to German-language lyrics aimed at cultural differentiation.[11] The band initially toyed with names like Tempelprayers before adopting "Rammstein," a misspelled nod to the 1988 Ramstein air show disaster—where three Italian jets collided mid-air, killing 70 spectators and injuring over 300—proposed by Schneider, Lorenz, and Landers; they rejected the fuller "Rammstein Flugdienst" (evoking "ramming flight service") for its stark simplicity, intentionally doubling the 'm' to evoke "ramming stone" while distancing from the tragedy's literal site.[14] [1] This period encapsulated the sextet's determination in reunified Germany's transitional hardships, forgoing prior punk affiliations—such as Feeling B's dissolution around 1993—to forge an identity rooted in East German resilience and uncompromised expression.[13]Herzeleid and Breakthrough (1994–1996)
In early 1995, Rammstein signed with Motor Music, a subsidiary of PolyGram, following interest sparked by their demo tape.[15] The band recorded their debut album, Herzeleid, over two weeks in March at Polar Studios in Stockholm, Sweden, under producers Jacob Hellner and Carl-Michael Herlöfsson, who amplified the group's raw industrial aggression through layered guitars, pounding rhythms, and stark production techniques.[16] [17] Herzeleid was released on September 25, 1995, in Germany, featuring 11 tracks that showcased the band's Neue Deutsche Härte style with German-language vocals and themes of pain and taboo subjects.[17] The album entered the German Media Control Charts on October 23, 1995, at position 99 and ultimately peaked at No. 10, marking an initial commercial breakthrough despite its niche appeal.[18] Its cover art, depicting the band members' upper bodies emerging from a sea of blood-red hearts pierced by metal spikes, immediately drew scrutiny for its graphic imagery, reinforcing Rammstein's provocative aesthetic from the outset.[19] The lead single, "Du riechst so gut," preceded the album on August 28, 1995, with a music video depicting a primal pursuit in a dark forest, introducing motifs of obsession and transformation that hinted at the band's emerging visual intensity.[20] Follow-up single "Seemann" arrived on January 8, 1996, accompanied by a video portraying Lindemann as a sea captain amid a sinking ship and stormy seas, further emphasizing dramatic, elemental visuals.[21] These releases garnered limited mainstream radio airplay in Germany due to the explicit content of the lyrics and imagery, which explored dark eroticism and violence, yet they cultivated an underground following through alternative metal circuits.[15] Rammstein launched the Herzeleid Tour in late 1995, performing over 60 dates across European clubs and festivals, often as openers for acts like Project Pitchfork, which exposed them to industrial and goth audiences.[22] [23] This grueling schedule, combined with word-of-mouth from the album's unfiltered intensity, built a dedicated cult fanbase, laying the groundwork for international recognition while the band's onstage pyrotechnics and confrontational presence began polarizing critics and attracting early media scrutiny for perceived shock value.[15] By 1996, Herzeleid had sold over 250,000 copies in Germany alone, signaling Rammstein's shift from obscurity to a viable force in European heavy music.[18]Sehnsucht, Live aus Berlin, and Rising Fame (1997–2000)
Rammstein's second studio album, Sehnsucht, was released on August 22, 1997, through Motor Music in Europe.[24] The record debuted at number one on the charts in Germany and Austria, marking a significant commercial escalation from their debut Herzeleid.[25] Key singles including "Engel," "Du hast," and "Tier" drove its success, with "Du hast" achieving widespread radio play and video airtime despite its intense, rhythmic structure mimicking a gunshot cadence.[26] The album's artwork featured six variant covers by artist Gottfried Helnwein, depicting band members in vulnerable, bandaged poses that evoked themes of longing and exposure.[27] Music videos accompanying the singles incorporated provocative elements, such as choreographed S&M-inspired sequences in "Du hast" and surreal, animalistic visuals in "Tier," prompting edits or restrictions on broadcast in conservative markets like parts of the United States and Germany.[28] Rammstein adhered to their policy of performing and recording exclusively in German, rejecting proposals for English-language versions to preserve linguistic authenticity and cultural specificity, a stance that differentiated them amid pressures for broader accessibility.[29] The band's core lineup—vocalist Till Lindemann, guitarists Richard Kruspe and Paul Landers, bassist Oliver Riedel, drummer Christoph Schneider, and keyboardist Christian Lorenz—remained unchanged, providing continuity in their industrial metal sound during intensive touring.[30] In 1998, Rammstein supported Sehnsucht with European stadium shows, including sold-out performances at Berlin's Parkbühne Wuhlheide on August 22 and 23, where they deployed extensive pyrotechnics and theatrical staging.[31] Footage from these concerts formed the basis of the live album and video Live aus Berlin, released on August 30, 1999, capturing 18 tracks that highlighted the band's escalating production values and crowd energy.[32] The release peaked on German charts and earned certifications reflecting strong domestic demand.[33] The band's North American push included opening slots on the 1998 Family Values Tour alongside acts like Korn and Limp Bizkit, exposing them to U.S. audiences and yielding notable attendance figures, such as 20,000 at some stops.[34] This period of rising fame intersected with the April 1999 Columbine High School shooting, where media reports linked perpetrators Eric Harris and Dylan Klebold to Rammstein's music via downloaded tracks and T-shirts, prompting congressional inquiries into violent lyrics despite the band's emphatic denial of inspirational intent or endorsement of real-world violence.[35] Rammstein issued statements clarifying their artistic focus on provocation rather than advocacy, maintaining tour momentum amid the backlash.[29] By 2000, Sehnsucht had surpassed 2 million units sold globally, with platinum certifications in the United States and contributions to Rammstein's cumulative album sales exceeding 10 million copies worldwide, solidifying their transition from niche act to international draw.[36][37]Mutter and Mainstream Success (2000–2002)
Mutter, Rammstein's third studio album, was released on April 2, 2001, through Motor Music and Universal. Recorded at Studio Miraval in France, it was produced by Jacob Hellner alongside the band, with mixing by Stefan Glaumann, resulting in a polished evolution of their industrial metal sound characterized by enhanced orchestration and dynamic arrangements.[38][39] The album's themes centered on motherhood, personal identity, and psychological turmoil, exemplified by tracks like the title song "Mutter," which depicts an unloved child's longing for maternal connection, and "Neustart," addressing suicide and rebirth.[40] Its provocative cover featured a preserved 19th-century fetus, underscoring explorations of birth, rejection, and taboo familial dynamics without explicit endorsement of any perspective. The album achieved immediate commercial dominance, debuting at number one on charts in Germany, Austria, Switzerland, and Finland, with strong sales across Europe totaling over 1.4 million certified copies in 15 countries by various metrics.[41][42] Key singles included "Sonne," initially composed as an entrance theme for boxer Vitali Klitschko and later interpreted as a metaphor for destructive addiction or obsession; "Ich Will," satirizing the pursuit of fame and public validation; and "Links 2-3-4," a direct rebuttal to accusations of right-wing sympathies, affirming the band's left-leaning politics through ironic marching rhythms and lyrics emphasizing a "heart in the left place."[43][44] The "Sonne" music video, directed by Jörn Heitmann, reimagined the Snow White fairy tale with the band as enslaved dwarfs under a domineering, drug-addled queen, amplifying the song's themes of dependency without featuring Klitschko.[45] Supporting the release, Rammstein embarked on the Mutter Tour from May 2001 to July 2002, encompassing over 100 concerts across European arenas and select stadiums, such as Prague's Strahov Stadium and Russia's Petrovsky Stadium, solidifying their transition to large-scale venue headliners.[46][47] A performance of "Ich Will" at the MTV Europe Music Awards on November 8, 2001, in Frankfurt further elevated their international profile, showcasing pyrotechnic-enhanced staging to a broadcast audience.[48] These efforts, combined with critical recognition for the album's sonic maturity, propelled Rammstein toward mainstream European success while maintaining their emphasis on unfiltered lyrical confrontation of societal taboos.[39]Reise, Reise, Rosenrot, and Völkerball (2003–2007)
Rammstein released their fourth studio album, Reise, Reise, on September 27, 2004.[49] The record debuted at number one on charts in Germany, Austria, Switzerland, and Finland, among others, reflecting the band's sustained commercial momentum in Europe.[50] Lyrically and thematically, the album drew on nautical motifs, with the title track evoking mutiny aboard a ship amid perilous seas, underscored by traditional maritime accordion elements in its arrangement.[51] The lead single, "Mein Teil," referenced the 2001 Armin Meiwes cannibalism case, where Meiwes killed and consumed a consenting victim; the song's grotesque imagery prompted public ethical discussions on glorifying real crimes through art, though prosecutors declined to charge the band, deeming it protected expression.[52][53] In 2005, Rammstein adopted a dual-album approach by issuing Rosenrot on October 28, incorporating six tracks originally recorded during Reise, Reise sessions but excluded for artistic reasons, alongside new material reworking some leftovers.[54] Initially titled Reise, Reise Volume Two, the album shifted focus to themes of personal loss, mortality, and folkloric confrontation with inexorable forces, as in the title track's ballad-like exploration of futile quests echoing Grimm-inspired tales of hubris and downfall.[55] This strategy allowed the band to repurpose material without rushing a full successor, maintaining creative continuity while experimenting with acoustic and orchestral textures amid their industrial core.[56] The period's touring intensified under the Reise, Reise banner, including a 2005 leg through Mexico and South America with dates in October across venues in Brazil, Argentina, and Chile, marking expanded reach in Latin markets.[57] U.S. performances grew fan engagement despite lingering post-9/11 cultural wariness toward aggressive German aesthetics evoking militarism, as the band's elaborate pyrotechnics and stage antics drew dedicated niche audiences.[58] Culminating the era, Völkerball—a live DVD and CD set—arrived on November 17, 2006, compiling footage from Nîmes, France (July 23, 2005), London, Tokyo, and Moscow shows, plus a full Nîmes audio recording; it showcased setlist evolutions blending older hits like "Du Hast" with newer material, capturing the tour's peak production scale.[59][60]Liebe ist für alle da and Legal Battles (2007–2011)
Liebe ist für alle da, Rammstein's sixth studio album, was released on October 16, 2009, in Europe through Universal Music. Recorded primarily in the United States, the album delves into themes of deviant sexuality, sadomasochism, and interpersonal power dynamics, with tracks like "Ich tu dir weh" ("I Hurt You") depicting dominance and submission through graphic language. The cover artwork features a nude, bloodied woman emerging from a heart-shaped wound on a man's chest, underscoring the provocative aesthetic.[61][62] On November 11, 2009, the German Federal Review Board for Media Harmful to Minors (BPjM) indexed the album, prohibiting its public display in stores and sale to those under 18, citing lyrics in "Ich tu dir weh" and the music video for "Pussy"—which includes simulated intercourse and explicit nudity—as potentially glorifying violence and sexual abuse. The decision followed complaints about the content's influence on youth, though the album had already sold over 200,000 copies in Germany, achieving platinum status in its first week. Rammstein challenged the indexing, arguing it suppressed artistic expression; the Administrative Court of Cologne overturned the restriction in April 2010, deeming the classification unlawful after reviewing the material's contextual intent as satire rather than literal endorsement of harm.[63][64][65][66] Singles from the album included "Pussy" in September 2009, whose video directed by Jonas Åkerlund amplified the censorship debate with its borderline pornographic scenes, and "Ich tu dir weh" in February 2010, featuring live performances where vocalist Till Lindemann underwent a staged electrocution strapped to a chair. "Frühling in Paris" followed as a single in May 2010, with a more subdued video homage to 1920s cinema. The band defended the lyrics as hyperbolic exaggerations critiquing human depravity, not prescriptions for behavior, emphasizing their long-standing use of shock to provoke reflection on taboos.[61][62] The Liebe ist für alle da Tour (LIFAD Tour) launched with exclusive fan club shows on October 27, 2009, in Berlin, debuting new songs alongside elaborate pyrotechnics, including flame-emitting suits worn by the band and a bow-and-arrow apparatus firing ignited projectiles during select tracks. The tour expanded to Europe, Russia, Turkey, South Africa, and North America—the band's first U.S. dates since 2001—running through May 2011 and grossing significant revenue despite the domestic legal hurdles. European first-week sales exceeded expectations, with strong chart debuts in multiple countries, though precise continental totals for the initial period remain unaggregated beyond Germany's 200,000-plus units.[67][66]Made in Germany, Side Projects, and Reconsolidation (2011–2017)
In December 2011, Rammstein released Made in Germany 1995–2011, a greatest hits compilation featuring 15 remastered tracks from their previous albums alongside the new song "Mein Land," which served as the lead single on November 11, 2011.[68] [69] The album bridged the band's early and later eras, achieving commercial success by topping charts in Germany and several European countries.[70] The release was supported by a European arena tour from late 2011 to mid-2012, characterized by the band's signature massive production, including pyrotechnics and theatrical stunts such as lead singer Till Lindemann crowd surfing across audiences in an inflatable rubber boat during performances of "Engel."[71] Following the tour, the band entered an indefinite hiatus amid rumors of creative exhaustion and potential disbandment, as members pursued individual endeavors without dissolving the group.[72] During this period, side projects flourished: guitarist Richard Kruspe released Emigrate's second album Silent So Long on November 14, 2014, featuring guest vocalists like Lemmy Kilmister and maintaining an industrial metal sound distinct from Rammstein.[73] Lindemann debuted his collaborative project with producer Peter Tägtgren, releasing Skills in Pills on June 19, 2015, which explored dark personal themes including pain, death, and taboo subjects through English- and German-language tracks.[74] [75] These ventures allowed creative outlets amid reported internal strains from prolonged touring and production demands, yet preserved lineup stability.[76] By September 2015, Lindemann confirmed the hiatus's end, with the band entering the studio to reconsolidate and develop material for their eighth album, signaling resolution of tensions through renewed collaboration.[72] This phase marked a transitional equilibrium, balancing solo explorations with group recommitment ahead of future releases.Untitled Album, Zeit, Stadium Tour, and Hiatus (2017–present)
Rammstein released their self-titled seventh studio album, commonly referred to as the untitled album, on May 17, 2019.[77] The album's rollout began anonymously with teaser videos, including the controversial "Deutschland" music video premiered on March 28, 2019, which depicted historical and provocative imagery of German identity.[78] Recorded at Studio La Fabrique in France, the 11-track record featured production by Olsen Involtini and maintained the band's industrial metal sound with explicit lyrics exploring themes of sexuality, history, and human behavior.[79] Following the 2019 release, Rammstein announced their eighth studio album, Zeit, on March 10, 2022, with the title track's video addressing themes of time, aging, and mortality through imagery of the band members' aging process.[80] The album was released on April 29, 2022, after recording sessions in 2020 at the same French studio, though the band's touring plans were disrupted by the COVID-19 pandemic.[81] Comprising 11 songs produced by Olsen Involtini, Zeit debuted at number one on charts in Germany and several other European countries, reflecting strong commercial performance amid the post-pandemic market.[82] The World Stadium Tour, supporting both albums, commenced in May 2019 and concluded in July 2024 after 135 shows across Europe and North America, attracting over 6 million attendees.[83] The production featured elaborate pyrotechnics and stage designs, contributing to record-breaking attendance figures for the band. A documentary chronicling the tour was announced for release during the hiatus period.[84] In July 2024, guitarist Paul Landers confirmed the band would enter a hiatus from touring in 2025 and 2026 to allow for recovery following the exhaustive five-year run, with future plans to be determined thereafter.[84] During this break, frontman Till Lindemann launched his solo arena tour "Meine Welt," starting October 29, 2025, in Leipzig, Germany, spanning over 25 shows across 17 European countries to promote his album Zunge.[85] Additionally, on November 14, 2025, Rammstein released the limited-edition XXXIII Collector's Vinyl Box, compiling all 33 official singles from 1995 onward on 7-inch vinyl in chronological order.[86] No new band album has been confirmed, with members focusing on rest and potential individual projects.[84]Musical Style and Lyrics
Core Elements of Industrial Metal Sound
Rammstein's sonic signature within industrial metal draws from aggressive heavy riffs layered with electronic elements, forming the backbone of Neue Deutsche Härte, a style emphasizing rhythmic drive and mechanical precision.[87] [19] The band's arrangement typically features dual guitars from Richard Kruspe (lead) and Paul Landers (rhythm), which build tension through synchronized riffing rather than extended solos, prioritizing repetitive, hook-driven structures for hypnotic intensity.[88] [89] Christian "Flake" Lorenz's keyboards contribute dystopian atmospheres via synthesizers and samples, often evoking industrial machinery and techno pulses, while Oliver Riedel's bass lines anchor the low-end aggression with steady, grounding pulses.[88] [38] Christoph Schneider's drumming establishes marching beats with tight, metronomic precision, mimicking the percussive clang of industrial pioneers and enabling the genre's danceable yet brutal momentum, often in compound time signatures for added unease.[88] Guitars are predominantly tuned to Drop D for enhanced heaviness and riff clarity, facilitating down-tuned power chords that dominate tracks without melodic diversions.[90] [91] Production, largely helmed by Jacob Hellner since the 1995 debut Herzeleid, favors raw, multi-layered mixes incorporating samples and minimal processing to retain organic aggression, eschewing over-polished effects in favor of visceral impact.[92] [87] Over time, the sound evolved from Herzeleid's unrefined rawness—characterized by stark, abrasive tones and limited synth integration—to greater polish in later works like 2022's Zeit, where expanded keyboard layers and refined electronic textures heighten atmospheric depth without diluting core heaviness.[93] [94] Hellner's approach maintained emphasis on rehearsal-honed grooves and sample overlays, ensuring repetitive motifs sustain tension across albums.[92] [87]Thematic Content and Provocative Language
Rammstein's lyrics, primarily authored by vocalist Till Lindemann, explore the darker facets of human experience through grotesque, hyperbolic scenarios that confront taboos such as incest, cannibalism, necrophilia, and authoritarian impulses, eschewing moral judgments in favor of raw depiction to provoke introspection.[95] Songs like "Mein Teil" (2004) draw from real events, such as the Armin Meiwes case, to portray cannibalistic urges without advocating them, presenting instead surreal vignettes that highlight societal hypocrisies in suppressing primal instincts.[95] Similarly, "Spiel mit mir" (1997) evokes incestuous undertones through childlike innocence twisted into eroticism, forcing listeners to grapple with forbidden desires absent any prescriptive intent.[96] Lindemann's pre-band background as a published poet informs this approach, with collections like In stillen Nächten (2013) featuring morbid, explicit verses that parallel Rammstein's songwriting, adapting classical German poetic forms—such as ballads and rhymes—into industrial metal contexts for rhythmic precision and emotional bluntness.[97][98] Empirical examination of the corpus reveals no explicit calls to emulate depicted behaviors; rather, the lyrics employ exaggeration to critique cultural euphemisms, as in "Pussy" (2009), which satirizes pornographic clichés through over-the-top sexual invitations, underscoring the artificiality of commodified desire without endorsing participation.[99] This rejection of didacticism aligns with Lindemann's stated emphasis on rhyme and listener captivation over narrative resolution, treating themes as provocative mirrors to human frailty.[100] The band's adherence to German-language lyrics amplifies this confrontational style, leveraging the tongue's phonetic harshness and semantic directness to avoid dilution by English's softer connotations, as Lindemann has noted that non-German terms lack equivalent gravitas for taboo articulation. This choice preserves cultural specificity, resisting globalization's homogenizing pull, though later works incorporate multilingual elements—like English in "Pussy" or French phrases—for ironic effect, maintaining German as the core for unvarnished expression. In "Deutschland" (2019), for instance, the refrain oscillates between adoration and revulsion toward the nation across historical epochs, from Teutoburg Forest to Nazi-era atrocities, embodying ambivalence without partisan endorsement or resolution.[101][102] Such constructions critique national self-deception through stark imagery, compelling audiences to confront unpalatable truths empirically rooted in history rather than sanitized narratives.[95]Live Performances
Stage Design and Pyrotechnics
Rammstein's stage setups integrate advanced pyrotechnic engineering, custom mechanical prosthetics, and industrial props, engineered for synchronized spectacle while adhering to stringent safety standards through professional collaboration and rehearsal protocols. Following a September 1996 concert incident in Berlin where a flaming stage prop collapsed and injured several audience members, the band contracted specialist effects firm FFP, which has managed their pyrotechnics since, implementing manual firing systems like Galaxis for precise control and MA Lighting for flame effects to prevent mishaps.[103][104][105] Early tours supporting Herzeleid (1995–1997) featured rudimentary fire elements, such as igniting vocalist Till Lindemann's sleeves during performances, evolving into more complex arrays by the Reise, Reise era (2004–2005) with expanded flame projectors and prop mechanisms. Later productions incorporated signature devices like the 4-meter pneumatic phallus cannon, debuting on the Liebe ist für alle da tour (2010), which deploys confetti via compressed air, alongside flamethrower backpacks and suits tested for extreme heat exposure. Stadium configurations produce flames up to 65 feet high reaching 600°C, with over 300 pyrotechnic effects per show utilizing approximately 1,000 liters of fuel, 80 kg of lycopodium powder, and 40 liters of isoparaffin.[106][107][108] Rigging demands substantial resources, with crews of 400–500 personnel assembling stages over four days, costing upwards of $6 million for structures and daily operations exceeding €200,000, including flameproof surfaces like Yorgrip aluminum for secure footing amid props. Safety is prioritized through pre-show dry runs and on-site fire crews scaling from zero to 100 personnel as effects intensify, resulting in minimal band or crew injuries despite sensational media portrayals of risk, as professional oversight contrasts early amateur errors.[109][110][111]Theatrical Elements and Audience Interaction
Rammstein's live performances incorporate scripted theatrical narratives that blend industrial metal with elements reminiscent of Weimar-era cabaret, featuring grotesque costumes and choreographed stunts to immerse audiences in a surreal, provocative spectacle.[112] During the Mutter tour (2001–2002), band members donned alien baby masks and other odd facial coverings during intros and songs like "Mein Herz Brennt," evoking historical grotesques and enhancing the album's themes of birth, deformity, and taboo.[113] These visual motifs extend to narrative skits, such as Till Lindemann's bow-and-arrow routine in "Du Riechst So Gut," where he fires a flaming arrow toward a target amid dramatic staging, symbolizing tension and release while engaging the crowd's anticipation.[114] Audience interaction tactics foster communal catharsis through direct physical and sensory involvement, exemplified by rubber boat crowd-surfing during "Seemann" and "Haifisch," where band members navigate over fans to return to the stage, heightening collective energy.[115] Confetti cannons deploy during encores, showering the audience and reinforcing loyalty via shared euphoria, as seen in post-song celebrations that extend the ritualistic bond.[116] Setlists are curated to trace emotional arcs, progressing from militaristic marches like "Links 2-3-4" to introspective tracks and explosive closers, spanning approximately 2 hours and 16 minutes with multiple encores to sustain immersion.[117] In adapting to stadium scales during the 2019–2024 tour, Rammstein maintained intimacy via large LED screens (5m x 9m) displaying close-up visuals and synchronized effects, allowing distant spectators to feel proximate to the action, including extended thrusts into audience sections.[118] Fan reports indicate high repeat attendance, with individuals attending multiple shows per tour across Europe, underscoring the performances' draw for communal release amid the band's provocative aesthetics.[119]Imagery and Symbolism
Visual Aesthetics and Influences
Rammstein's visual aesthetics emphasize stark iconography including leather attire, masks, and militaristic uniforms, intended as anti-commercial provocation to challenge audience expectations.[120] These elements draw from the East German punk underground scene, where band members like Till Lindemann participated before forming the group in 1994.[12] Album covers often feature high-contrast black-and-white contrasts with dramatic, distorted figures, evoking emotional intensity akin to German Expressionism's emphasis on inner turmoil over realism.[121] Stage designs incorporate industrial machinery such as hydraulic platforms and LED screens to amplify theatricality, requiring extensive setup times exceeding 60 hours per show.[122] Influences extend to horror film aesthetics, reflected in silent-era stylistic nods like exaggerated makeup and shadowy visuals during performances of tracks such as "Mein Herz Brennt."[123] The band has incorporated formal cinematic techniques from Leni Riefenstahl's propaganda films, such as rhythmic editing and monumental framing, in videos like "Stripped" from 1998, which overlaid their track on footage from Olympia (1938), though members have denied any endorsement of her ideology.[124] [125] Elements of Berlin's fetish club culture, characterized by leather and uniform-inspired clothing, inform their costuming, aligning with the city's taboo-free nightlife traditions.[126] Rammstein's approach aims to reclaim and subvert overloaded German symbols—such as runes and crosses—through exaggeration, motivated by a desire to confront and transcend national historical burdens rather than glorify them.[127] This intentional provocation distinguishes their visuals from mainstream commercialism, prioritizing discomfort and reflection over accessibility.[128]Interpretations and Artistic Intent
Rammstein's members, particularly vocalist Till Lindemann, have articulated that their symbolism and lyrics employ deliberate exaggeration to dissect and critique inherent human weaknesses, societal contradictions, and cultural dominances, rather than to promote or glorify destructive impulses. This approach draws from first-principles observation of universal behaviors—such as aggression, desire, and conformity—amplified to provoke discomfort and introspection, eschewing endorsement in favor of mirroring flaws back at audiences for self-examination. Lindemann has emphasized that interpretations should arise from listeners' engagement, not prescriptive explanations, as overt literalism undermines the art's intent to elicit raw emotional responses over sanitized narratives.[95][129] A concrete illustration appears in the 2004 track "Amerika," where Lindemann and the band satirize the homogenizing force of American cultural export through motifs like the Apollo 11 moon landing yielding a Coca-Cola bottle amid global appropriations of U.S. icons, underscoring consumerism's eclipse of indigenous traditions without advocating subjugation. This hyperbolic framing critiques imperialism's causal mechanics—where economic and media influence supplants local agency—evident in the song's bilingual structure and video depictions of non-Western figures consuming American products under false pretenses of enlightenment. The band's rejection of surface-level readings aligns with their humanist declarations, positioning such devices as diagnostic tools against complacency.[130][131] Rooted in their East German upbringing amid Stasi surveillance and artistic censorship until reunification in 1990, Rammstein's provocations embody a resilience forged against enforced conformity, prioritizing unfiltered expression to counter modern sensitivities that echo prior suppressions. Empirical counters to reductive fascist attributions include the absence of any verified neo-Nazi ties—despite persistent scrutiny—and a fanbase spanning diverse demographics, including Jewish and LGBTQ+ adherents who engage with the material's critical edge, affirming its non-exclusionary appeal through global sales exceeding 17 million albums by 2019 and sold-out tours in over 50 countries. Band statements consistently affirm this distancing, framing symbolism as anti-dogmatic satire sustained by causal fidelity to observed realities over ideological alignment.[129][132][7]Controversies
Accusations of Fascist Sympathies and Imagery
Rammstein has faced recurring accusations of harboring fascist sympathies, primarily stemming from their provocative stage uniforms resembling militaristic attire and imagery in music videos that evokes German history, including Nazi-era elements. Critics, including some politicians and advocacy groups, have interpreted these as glorifying authoritarianism or Nazism, with early claims dating to the band's 1990s U.S. tours where their aesthetic was likened to propaganda.[133] [134] Following the 1999 Columbine High School shooting, where perpetrator Eric Harris wore a Rammstein T-shirt and "Du hast" was referenced in media, the band encountered heightened scrutiny and temporary performance restrictions in the U.S., despite no evidence linking their lyrics to the event and the band's explicit denial of any inspirational role.[135] [136] A prominent flashpoint occurred in March 2019 with the trailer for the "Deutschland" music video, which depicted band members in striped concentration camp uniforms amid Holocaust imagery, prompting condemnation from Jewish organizations like AMCHA and German politicians who accused the band of trivializing genocide.[124] [137] [138] The full video, spanning 2,000 years of German history with gory tableaux including Nazi scenes, was defended by Rammstein as a critical examination of national guilt and recurring cycles of violence, not endorsement, though detractors in left-leaning outlets amplified claims of insensitivity without acknowledging the band's historical contextualization.[139] [140] [141] Countering these allegations, Rammstein released "Links 2-3-4" in 2001 on the album Mutter, a track explicitly parodying military marches with lyrics declaring the band's heart on the left ("mein Herz schlägt links"), composed in direct response to neo-Nazi fan associations and to affirm anti-extremist stance.[142] [143] [144] All six members hail from the German Democratic Republic (GDR), where they endured state totalitarianism, fostering a rejection of authoritarianism across the political spectrum; guitarist Richard Kruspe, for instance, married Jewish-South African actress Caron Bernstein in a Jewish ceremony in 1999, adopting the hyphenated name Kruspe-Bernstein during their union, and the band has made no documented donations to far-right causes.[145] [146] [147] While some surveys and fan analyses indicate a politically diverse audience not disproportionately right-leaning, accusations persist in media narratives that overlook these disavowals, often prioritizing sensationalism over the band's consistent artistic intent to provoke reflection on Germany's past rather than endorse fascism.[148] [140]Associations with Violent Events
Rammstein has been tenuously linked to the 1999 Columbine High School massacre in Colorado, where perpetrators Eric Harris and Dylan Klebold were reported fans of the band's music, with Harris quoting lyrics from "Rammstein" in a classmate's yearbook.[149] Following the event, which killed 13 people, some U.S. media outlets speculated on the influence of industrial metal acts like Rammstein and KMFDM, portraying their provocative themes as potential catalysts for youth violence amid broader moral panics over extreme music.[150] However, investigations, including those by the FBI, identified no direct causal role for specific songs or lyrics in the shooters' actions, attributing the rampage primarily to personal grievances, mental health issues, and access to firearms rather than media consumption.[29] The band issued statements condemning the killings as senseless and rejecting any implication of their work promoting violence, emphasizing that millions of listeners engage with their music without incident.[136] Similar unsubstantiated associations arose in 2012 after a Perry Hall High School shooting in Maryland, where the 15-year-old perpetrator listened to Rammstein, prompting renewed media scrutiny despite no evidence linking the band's content to the act, which injured one student.[151] Broader empirical reviews of media effects on aggression, including heavy metal exposure, have found correlations weak or absent for real-world violence, with no peer-reviewed studies isolating Rammstein's music as a predictor of violent behavior; instead, factors like socioeconomic stressors and individual pathology predominate in causal analyses of such events.[152] The 2004 single "Mein Teil" drew controversy for its basis in the 2001 Armin Meiwes cannibalism case, where Meiwes killed and consumed victim Bernd Jürgen Armando Brandes after online solicitation; the lyrics poetically recount elements of the incident from the cannibal's perspective, earning it the media moniker "Das Kannibalenlied" in Germany.[52] Released on the album Reise, Reise, the track neither endorses nor provides instructions for harm but artistically explores taboo extremes, consistent with Rammstein's provocative style; forensic linguistic examinations of similar lyrics have discerned no imperative to imitate crimes, framing such art as cathartic commentary rather than incitement.[153] No verified instances trace violent acts directly to the song, underscoring a pattern of post-hoc attributions amid sensationalist coverage, with the band maintaining that their intent is theatrical exaggeration, not advocacy.[53]Video Content and Censorship Challenges
The music video for Rammstein's 2009 single "Pussy", directed by Jonas Åkerlund, depicted the band members as soldiers invading a tropical island populated by nude women, incorporating explicit scenes of simulated and unsimulated sexual acts using pornographic actors as body doubles to parody themes of conquest and excess.[154] MTV declined to broadcast the uncensored version, citing violations of broadcast standards on graphic nudity and sexuality, while YouTube restricted access through age-gating and content warnings, limiting algorithmic promotion.[155] Despite these barriers, the video proliferated virally across alternative platforms, accumulating tens of millions of views and underscoring the limitations of traditional censorship in the digital era.[156] In a parallel case, the 1998 video for Rammstein's industrial remix of Depeche Mode's "Stripped" integrated archival footage from Leni Riefenstahl's 1936 Nazi propaganda film Olympia, which documented the Berlin Olympics under the Third Reich, prompting accusations of aestheticizing fascist imagery and leading to its withdrawal from MTV rotation and other outlets due to historical sensitivities.[157] The band defended the choice as an ironic reclamation of manipulated visuals for artistic deconstruction, rejecting interpretations of endorsement while highlighting how selective outrage ignored the footage's propagandistic origins.[158] Platforms' decisions reflected broader tensions between artistic intent and curatorial caution, with the video facing intermittent demonetization on YouTube in subsequent years amid updated content policies. Rammstein's encounters with video censorship have spotlighted perceived inconsistencies in media standards, as the band noted in interviews that equivalent or more explicit depictions in mainstream American hip-hop videos—often featuring violence, misogyny, and nudity—routinely evade similar prohibitions, attributing this to cultural biases favoring certain genres over European industrial provocations.[154] Legal precedents in Germany, including a 2010 Cologne court reversal of an album display ban under youth protection laws, have bolstered arguments for artistic exemptions from prurient restrictions, affirming that contextual provocation does not equate to obscenity warranting suppression.[159] These challenges have not curtailed the band's reach; as of 2025, Rammstein's official YouTube music videos have collectively surpassed 2 billion views, with algorithmic flagging on explicit content failing to prevent sustained global engagement.[160]Placement on the Index and Distribution Issues
In November 2009, shortly after its October 16 release, Rammstein's album Liebe ist für alle da was placed on the Index of media harmful to minors by Germany's Federal Review Board for Media Harmful to Minors (BPjM), prohibiting its public display in stores due to lyrics and imagery deemed to glorify sexual violence and sadomasochism, particularly in tracks like "Bück dich" and "Roter Sand," as well as booklet illustrations.[66][63][161] The indexing required retailers to store copies out of sight and restrict sales to adults, effectively limiting over-the-counter distribution while allowing sales with age verification, a measure intended to protect youth from content interpreted as endorsing non-consensual acts.[162] Rammstein appealed the decision, arguing that the lyrics constituted artistic expression rather than literal incitement. The BPjM upheld the index in early 2010, but the Cologne Administrative Court overturned it on June 8, 2010, ruling that the board lacked sufficient grounds, as the content did not demonstrably endanger youth through direct promotion of harm.[159][163] The BPjM then appealed to the Higher Administrative Court of North Rhine-Westphalia (OVG NRW), which on October 27, 2011, confirmed the de-indexing in a final ruling, emphasizing contextual artistic intent over isolated provocative phrases and affirming that fictional depictions alone do not violate youth protection laws absent evidence of causal harm.[162] The temporary restrictions echoed Germany's historical approach to indexing provocative rock and metal works, such as earlier cases involving bands like Scorpions orAccept, but the outcome established a precedent prioritizing freedom of artistic expression in evaluating heavy metal lyrics for endangerment claims.[164] Distribution resumed normally post-2010, with the band voluntarily adopting an 18+ rating for future editions to comply with retail norms without altering content, avoiding self-censorship while navigating ongoing scrutiny of extreme genres.[61]Sexual Misconduct Allegations Against Till Lindemann
In May 2023, German news magazine Der Spiegel published allegations of sexual misconduct against Rammstein frontman Till Lindemann, based primarily on accounts from anonymous women who claimed they were invited to after-show parties through a casting process organized by a band associate.[165] The reports alleged that Lindemann systematically provided women with spiked drinks containing substances like MDMA or ketamine to facilitate non-consensual sexual encounters, with specific claims including an incident involving American singer Shelby Lynn at a 2022 concert in Vilnius, Lithuania, where she reported feeling ill after consuming a shot from Lindemann.[165] [166] These accounts, drawn from over a dozen women, suggested a pattern of predatory behavior at events during Rammstein's 2022 stadium tour, though many involved NDAs that the accusers described as coercive.[165] Berlin public prosecutors initiated an investigation on June 14, 2023, following multiple complaints of sexual assault and administration of narcotic substances.[165] The probe examined claims spanning 2007 to 2023 but was discontinued on August 29, 2023, after prosecutors determined there was insufficient evidence to support criminal charges.[167] [168] Key findings included toxicology reports showing no prohibited substances in tested samples from alleged victims, witness statements indicating consensual interactions, and an inability to verify non-consensual acts or drugging beyond reasonable doubt.[169] No charges were filed against Lindemann or associates, reflecting the empirical absence of prosecutable evidence despite initial media amplification.[167] Lindemann denied the allegations, asserting all encounters were consensual and that after-parties involved voluntary adult participation, often with alcohol but no coercion or spiking.[169] In response, he pursued countersuits, securing a court ruling in April 2025 against his former publisher Kiepenheuer & Witsch, which had terminated his contract amid the scandal; the decision invalidated the termination, affirming no contractual breach based on the unsubstantiated claims. An ongoing criminal complaint filed in August 2024 accuses Der Spiegel executives of forgery and fraud in handling affidavits from two women, citing discrepancies in signatures and submission processes that allegedly misrepresented evidence.[170] [9] Rammstein issued statements emphasizing the band's shock and commitment to fan safety, implementing measures like discontinuing certain after-party practices during their tour resumption in May 2023.[165] In an August 2024 open letter, the band described much of the discourse as "baseless and exaggerated," while affirming their serious engagement with verified concerns, noting the absence of a corroborated pattern over Lindemann's three-decade career in the public eye.[171] This episode highlights tensions in post-#MeToo reporting, where anonymous sourcing in outlets like Der Spiegel—which has faced prior credibility challenges—preceded guilt presumption absent empirical validation from legal authorities.[170]Concertgoer Misconduct and Security Incidents
During Rammstein's 2019–2024 stadium tour, security incidents involving concertgoers included attempts to sabotage equipment and pre-concert altercations. On July 16, 2023, at Olympiastadion in Berlin, two individuals were arrested for tampering with cable ducts near the stage, while a third fled; the incident was linked to activist interference rather than typical fan misconduct.[172] Prior to a July 3, 2024, show in Vienna, fans engaged in brawls at the queue, including an assault on journalists from Austrian broadcaster ORF, prompting police intervention.[173] Such events underscored challenges in managing large crowds of up to 80,000 attendees per show, though reports of widespread groping or assaults within mosh pits specific to Rammstein remained anecdotal and unquantified in official records. In response to heightened safety concerns during the tour, including broader discussions on harassment at metal concerts, Rammstein implemented enhanced measures such as eliminating the "Row Zero" restricted zone between the stage and barriers, canceling afterparty events, and increasing overall security presence starting with Munich shows on June 7, 2023, and extending to Berlin dates in July.[174] [175] These changes aimed to reduce risks in high-density areas without evidence of band encouragement of misconduct. The band publicly affirmed a stance against abuse, stating they "condemn all forms of abuse and sexual violence" and take related matters "extremely seriously."[176] Legal probes into tour-related complaints, including victim testimonies of crowd harassment, concluded without finding band complicity or vicarious liability, as German prosecutors dropped investigations in August 2023 citing insufficient evidence of organized wrongdoing beyond individual actions.[169] [168] Keyboardist Christian "Flake" Lorenz attributed some crowd issues to excessive intoxication among attendees rather than performance elements, emphasizing personal responsibility in statements to media. Industry parallels, such as a 2018 YouGov survey indicating 20% of festivalgoers experienced harassment (with low reporting rates), suggest Rammstein incidents aligned with patterns at comparable large-scale events, though no peer-reviewed data confirmed rates below metal festival averages.[175]Political Views and Public Stances
Band's Avoidance of Explicit Politics
Rammstein has consistently maintained an apolitical stance in its public positioning, emphasizing artistic provocation over partisan alignment, a approach shaped by the members' upbringing in the German Democratic Republic (GDR), where state-mandated ideology permeated daily life and art.[177] The band's experience with totalitarian control under socialism fostered a deliberate rejection of music as a vehicle for propaganda, viewing it instead as an escapist outlet from ideological constraints, as frontman Till Lindemann described accessing Western radio broadcasts as a "tether to an uncensored world" during his youth in East Germany.[178] This background informs their use of satire to highlight the absurdities of extreme ideologies—left and right—without endorsing any, allowing lyrics and visuals to provoke reflection on human folly rather than prescribe solutions.[179] The band has refused political endorsements or associations, exemplified by their 2016 legal action against Donald Trump for unauthorized use of "Du Hast" at campaign rallies, stating they wanted "nothing to do with him."[180] In tracks like "Deutschland" (2019), Rammstein critiques nationalism's perils across historical epochs, from the Holy Roman Empire and Prussian militarism to Nazi fascism and East German communism, portraying Germany as a seductive yet destructive force without glorifying or aligning with any side; band statements and video analysis underscore this as a bilateral distancing from chauvinism rather than promotion.[140] Such works prioritize universal human themes—guilt, desire, violence—over contemporary partisanship, enabling broad appeal that transcends political divides, as evidenced by their left-leaning origins attracting diverse fans uninterested in ideological signaling.[181] This universality stems from a commitment to antideology, where shock value exposes ideological excesses' inherent ridiculousness without the band assuming a didactic role.[179]Criticisms of Censorship and Cultural Overreach
Rammstein has consistently defended its provocative aesthetics against perceived encroachments on artistic liberty, positioning such expression as essential to countering cultural sanitization. In June 2023, following a book publisher's decision to sever ties with Till Lindemann amid sexual misconduct allegations, the band stated, "We defend the freedom of art with full conviction," underscoring their resistance to external pressures equating personal conduct with creative output.[182] This stance echoes prior assertions, such as in 2022 when supporting a Russian citizen prosecuted for sharing the band's "Pussy" video, where they affirmed that "Rammstein have always stood up for the freedom of art as a guaranteed basic right of all people."[183] The band's critique intensified post-2023 allegations, framing intensive media scrutiny as a prejudicial "Medienkampagne" that preempts due process and assaults expressive freedoms akin to historical suppressions. Lindemann, raised in the GDR under state-controlled media and artistic restrictions, has implicitly drawn on this backdrop to advocate for boundary-pushing art as a bulwark against conformist overreach, arguing in interviews that societal hypersensitivity mirrors past ideological controls by prioritizing offense avoidance over raw creativity. Legal responses, including Lindemann's 2024 lawsuit against Der Spiegel for purportedly fabricated claims, further illustrate this pushback, with the band noting in an August 2024 open letter to fans that while "actively dealing with the accusations," authorities had resolved much of the matter in their favor.[171][184] Empirically, Rammstein's provocations demonstrate resilience against backlash, as commercial metrics remained robust: the 2023 European stadium tour continued unabated with sold-out venues despite calls for cancellation, and legacy albums like Zeit, Untitled, and Mutter sustained top-100 chart positions in Germany for over a year amid the scandal.[174][185] Overall sales exceeding 20 million albums worldwide affirm that such artistic testing of limits bolsters rather than undermines audience engagement, validating the band's causal view that unfiltered provocation fortifies cultural discourse.[186]Individual Members' Statements
Christian "Flake" Lorenz, the band's keyboardist, has expressed concern over environmental degradation, starring alongside his daughter Mimi in a November 2022 video that critiques the climate crisis and habitat destruction caused by human activity.[187] This personal initiative highlights a focus on ecological issues absent from the band's collective output. Vocalist Till Lindemann emphasizes personal liberty through his poetry, describing it in a 2018 interview as driven by "freedom of expression," which he views as essential to his creative process unbound by specific events or constraints. His solo works, such as the 2025 collection 100 Poems, explore themes of nature, violence, love, and death with dark humor, underscoring an individualistic artistic outlet separate from Rammstein's thematic style.[188] Guitarist Richard Kruspe advocates for creative individualism via his side project Emigrate, where he contrasts the autonomy of solo work with Rammstein's group dynamics; in a 2018 discussion, he explained that band ideas must survive scrutiny from five others, whereas Emigrate allows unfiltered personal vision.[189] This reflects a preference for self-directed expression over collective consensus. Drummer Christoph Schneider and other members, shaped by their East German upbringing under the GDR regime, occasionally reference historical experiences in interviews but avoid explicit ideological alignments, maintaining a band-wide emphasis on musical privacy over public political personas. No member has endorsed far-right positions, and statements remain rare, prioritizing artistic independence.[190]Band Members
Current Lineup and Roles
Rammstein's lineup has remained stable since its formation in 1994, comprising six core members who contribute to the band's industrial metal sound through distinct instrumental roles and collaborative processes.[191][192] Till Lindemann serves as lead vocalist, delivering the band's provocative German lyrics, which he primarily authors, often adapting them to fit completed musical structures; he also performs pyrotechnic elements during live shows.[87][100] Richard Kruspe plays lead guitar, frequently originating the central riffs that anchor song compositions, while maintaining a secondary project, Emigrate.[193] Paul Landers handles rhythm guitar, providing foundational grooves that support Kruspe's leads. Oliver Riedel plays bass, establishing the low-end pulse essential to the band's heavy rhythms. Christoph Schneider manages drums and percussion, driving the precise, marching beats characteristic of Rammstein's style. Christian "Flake" Lorenz operates keyboards and synthesizers, incorporating electronic textures and sampling, alongside theatrical stage antics that enhance performances.[192] The songwriting process emphasizes collaboration, with Kruspe's guitar riffs typically serving as the starting point, followed by collective refinement and Lindemann's lyrical overlay, ensuring thematic cohesion without lineup alterations since inception.[87][191] All members hail from the German Democratic Republic (East Germany), born between 1963 and 1975 in cities such as Leipzig, Wittenberge, and East Berlin, a shared upbringing in a regimented society that fostered their disciplined rehearsal routines and performance intensity.[194][195][196]Past Members and Contributions
Rammstein has maintained its original six-member lineup without any departures or replacements since its formation in 1994.[197][1] This stability contrasts with the flux common in early punk and alternative scenes from which its members emerged. Before solidifying as Rammstein, Till Lindemann, Richard Kruspe, and Paul Landers played in First Arsch, a Schwerin-based garage punk band formed in 1986.[13] Lindemann contributed on drums and occasional vocals, while Kruspe and Landers provided guitar work amid the group's informal, high-energy setup. First Arsch underwent typical pre-professional lineup shifts, including bassists and additional players, but saw no documented acrimony upon Lindemann, Kruspe, and Landers' exit in 1993 to focus on the new project.[13] These early experiences infused Rammstein's nascent demos with punk-derived aggression and raw intensity, evident in the industrial-edged prototypes that secured their 1994 demo contest entry.[11] Yet, the contributions of transients from First Arsch remained peripheral; the band's signature fusion of heavy riffs, electronic elements, and provocative themes was ultimately forged by the enduring core of Lindemann, Kruspe, Landers, Oliver Riedel, Christoph Schneider, and Christian Lorenz.[1]Discography
Studio Albums
Rammstein has released eight studio albums since their formation, achieving significant commercial success with worldwide sales surpassing 20 million units across the catalog. All albums debuted in the top ten on the German Albums Chart, with the majority reaching number one, reflecting strong domestic performance backed by multiple certifications from the Bundesverband Musikindustrie (BVMI). International chart peaks vary, but later releases like the self-titled album and Zeit topped charts in multiple European countries and entered the Billboard 200. Following the 2011 compilation Made in Germany 1995–2011, the band shifted to self-releasing studio albums through their entity Rammstein UG (haftungsbeschränkt), retaining full creative and distribution control.| Album | Release Date | German Peak | German Certifications | Notes |
|---|---|---|---|---|
| Herzeleid | 25 September 1995 | 10 | 5× Gold (500,000 units each) | Initial breakthrough; certified after sustained sales. |
| Sehnsucht | 22 August 1997 | 1 | Platinum (500,000 units); later 3× Gold upgrade | #1 in Germany; strong European sales. |
| Mutter | 2 April 2001 | 1 | 2× Platinum (1,000,000 units) | BVMI Platinum in 2002; over 1 million in Germany alone. |
| Reise, Reise | 27 September 2004 | 1 | Platinum (200,000 units post-2015 threshold) | Immediate #1; certified based on updated criteria. |
| Rosenrot | 28 October 2005 | 1 | Gold (150,000 units post-2015) | #1 debut; lower certification threshold applied retrospectively. |
| Liebe ist für alle da | 16 October 2009 | 2 | Platinum (200,000 units) | Banned initially in Germany for explicit content, lifted after edits; strong sales recovery. |
| Rammstein (self-titled) | 17 May 2019 | 1 | Platinum (200,000 units) | Self-released; #1 in 14 countries, #2 US Billboard 200 (12,000 units first week). |
| Zeit | 29 May 2022 | 1 | Gold (150,000 units) | Self-released; #1 in 13 countries, global first-week sales over 300,000. |