Rammstein- Liebe Ist Fur Alle Da [Album]

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October 17, 2009, 01:30 PM

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Picture the scene way back in 2001 where a song called ‘Sonne’ featuring a bunch of men dressed as miners being a part of a twisted Snow White tale was what the video depicted. For many people this was their first experience of the madness that is Rammstein (myself included) and the idea of how a song about the Sun itself could be twisted in such a way had a lot of people curious.

With subsequent albums however many people agreed that the edge that ‘Mutter’ brought to industrial wasn’t quite as possible, particularly with the 2005 release ‘Rosenrot’ which comprised of ‘outtakes’ from "Reise, Reise." "Reise, Reise" sessions did not sell well, in fact the album was not even toured properly in the UK.

Fast forward to about a month ago when Rammstein announced that the first single off the new album was going to be entitled ‘Pussy’ and had a video that was basically a hardcore porn crossed with a music video. Opinions were divided with some calling it adventurous and some calling it childish with nothing more than shock factor, my personal opinion was indifference due to Till Lindermann’s humour and the fact Jonas Akerlund directed the video (him of Prodigy Smack My Bitch Up fame) but I had a good chuckle!

What of the album itself I hear you cry out? (in Monty Python Get On With It style)

We start with what Rammstein describe as their new anthem called 'Rammlied' (Rammstone) which builds up to a crescendo and is a start to rival, if not better than "Reise, Reise’s" epic intro. ‘Ich Tu Dir Weh' (I Hurt You) starts the first foray into an electro world and personally is the song I can not get out of my head as I write this review. At a guess the song itself is about either Sadomasochism or a relationship gone wrong.

‘Waidmanns Heil’ (Hunter’s Call) kicks in a faster, dare I say thrash styled pace (weirdly due to listening to 'American High' by Machine Head before this I could hear that due to the similar pace) and gives the image of the thrill of a hunt with the blastbeats resembling the gallop of a horse along with an actual hound panting near the end.
‘Halfisch’ (Shark) once again shows the electro side of Rammstein and reminds me of the more Sehnsucht style material as it’s mostly guitar / synth led.

‘B*******’ (Whatever you want it to be) is like as Richard Kruspe once said ‘bucking the trend’ as Till gets close to death metal vocals on this track along with the very downtuned guitar and horror movie stabs at the keyboard… this is, in a way, a prelude for what’s to come.

‘Fruhling In Paris’ (Springtime in Paris) is the most diverse song on the album (and my favourite overall) with it’s more acoustic feel until the chorus along with EDITH PIAF being quoted by Till in the chorus ("Je ne Regrette Rien" in fact for anyone curious.) Personally I’m curious if it’s a sequel to Spring off Rosenrot about suicide… we shall know when the translations are done.

‘Wiener Blut’ (Vienna Blood) is in my opinion the darkest song that Rammstein have done (yes, darker than 'Mein Teil') as it is about the Josef Fritzl case. Starting off with the sound of an old grammarphone, Till then describes the protagonist luring people into his castle and welcoming them with ‘Wilkommen in der dunkleheit’ (Welcome into the darkness). What follows is a description of the events. Also Wiener Blut is also a type of sausage in Germany. Think reindeer so the dark humour of Till strikes again.

‘Pussy’ is self explanatory and for new Rammstein fans it is a surprise as the chorus is done in English and is like ‘Amerika’ at the same time being a much more lighthearted swipe at the German people's attitudes towards sex. The title track (Love is there for everyone) given the cover of the album too seems like more of a sequel to Mein Teil but keeps the ferociousness of the opening three tracks once again going into near thrash territory.

The final two tracks in ‘Mehr' (More) and 'Roter Sand' (Red Sand) once again show the diversity of Rammstein. Going from electro to heavy then starting the final song with whistling (shades of Roger Whittaker, Twisted Nerve from Kill Bill Vol 1 or Peter, Bjorn and John there) leading the album to a more relaxed closer.

So is it a return to form for Rammstein? They still have shown the ability to be tight in working together and the overall album shows a return to the days of "Reise, Reise" at least and show that a mixture of styles can be done well (sorry Muse), Rammstein also have the ability to shock as the deluxe box set proves. I won’t describe it here but given the first single…

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