Discography

Created from a big bang, an urgency that has gripped all six musicians equally, RAMMSTEIN want to be understood as an indivisible unit. All participants have always made music that had nothing in common with the RAMMSTEIN sound of today. In the East they ignored the work obligations and existed in the niches.

They call this today free game course - in contrast to the safari park of the reunited Germany, where sometimes somebody comes along, who throws a little bit of food. But a little bit of food does not fill the stomach. The RAMMSTEIN musicians come from East Berlin and Schwerin - that's in the North, they still explain helpfully, as if it were a completely foreign country. RAMMSTEIN took place with a tremendous impact, which is equally reflected in the music and the lyrics. At the same time as the group was founded, all partnerships between the musicians broke up and the general living conditions also gave rise to RAMMSTEIN's immanent anger.

RAMMSTEIN write very expressive texts in a wondrously direct language. Powerful and harsh, they push for the greatest possible expression, for pure feeling, driven by their very own musical mixture of programmed beats and metal elements, which they like to call 'dance metal'. RAMMSTEIN is an appeal to pure emotion and inevitably reaches its goal.

In expressions like: You want to see the bed on fire/ You want to drown in skin and hair/ You want to stick the dagger in the sheet/ You want to lick the blood off the sword/ Sex is a battle/ Love is war, and You smell so good/ I'm going after you/ I'll have you in a minute, lies a stoic unconditionality. That her lyrics are very trivial is no understatement. From the point of view of RAMMSTEIN, they are little caresses, love songs, in a perhaps decadent way. When asked how such texts are created, RAMMSTEIN answers laconically: On the typewriter Charles Baudelaire or even Brent Easton Ellis played no role in RAMMSTEIN's life. They write their texts intuitively, without role models One wants to read the German Expressionists for a while, until one had no more time. That is probably the difference between a scholarly and a creative talent: RAMMSTEIN do not manage the heaps of literary history, they pour language onto paper as if it were the first (and last) time. Perhaps RAMMSTEIN are indeed blind to their own work. But it is a fact that some things should not be spoken about in order not to destroy the magic of music.

It is also a fact that RAMMSTEIN have already caused quite a stir with their monolithic metal music, their repetitive-hypnotic steely sound masses, their theatrical-mandatory singing and their lyrics. Already with their first demos they won a studio production in 1993, in 1994 they conquered the East with their ecstatic live show and their desired producer Jacob Hellner, who spontaneously agreed to produce Herzeleid after a gig in the Hamburg logo' although he didn't understand a word of German.

Herzeleid was recorded in April/ May in the Stockholm BomKrash-Studio. Mixed in July at the Chateau du Pape in Hamburg.

And everyone involved agrees: Herzeleid is a groundbreaking debut and RAMMSTEIN is a rush that simply has to be allowed.

Madness is only a narrow bridge/ The banks are reason and instinct This is roughly the quintessence of two thousand years of philosophical history.