WWhen it comes to an end, every big band makes their White Album. A legacy without a title, a shell without a message. “Rammstein” Rammstein call her seventh and possibly last LP. It is not completely white: there would be the lost match in the middle – but what is a match against all the fires that have been rekindled by Rammstein for 25 years? A euphemistic symbol, nothing more.
You have to think a lot more when you hear “Rammstein” than with the six albums before. It had started well when the first song was recently released: “Germany” had been announced by a video excerpt in which members of the band in prisoner clothes were murdered in a concentration camp. Rights today like to complain that they feel persecuted like German Jews under Adolf Hitler. Rammstein was accused of advertising for the AfD and the red-is-you-yes-well-still-say-may-line to postpone.
Of course they had expected it. Then the video was released in full length, ten minutes of German insanity, from the Herrmann battle in the Teutoburg Forest to the Teutonic Knights and the Nazis to the GDR in the final stages. Germania, the mother of the nation, gives birth to a German Shepherd and is eaten at a cannibalistic banquet. “Germany, your love is curse and blessing / Germany, I can not give you my love.” Vaterland has burned down.
Not only other peoples such as the Mexicans knew that one could not be more German than Rammstein, when in concert they held signs with the inscription “Nietzsche” in the sky, or the French, if they sang along the eichendorff rhyme without accent. The Germans themselves knew that, if they treated the travesty like a political issue. Six eastern men who either came from the right-hand corner or were left behind to know what they were doing. Torches, flags, films from the Leni Riefenstahl Archive. Politically, Rammstein never was.
They just had fun testing the public thresholds and playing music that was anything but political: “dance metal,” theater, opera, German Gothic, “heartbreak,” and “yearning.” Her fathers were stage directors, writers and philosophers. Slavoj Zizek, the scholar of her generation, spoke in the “Taz”: “Just as Charlie Chaplin in 'The Great Dictator' lets Hitler say 'apple strudel' and 'Schnitzel', Rammstein sabotages the fascist utopia in an obscene way Forced politicization also included the mantra-like reference to their past in the East, in the leftist milieu of punks and squatters. So you could like their music in the moderate middle.
“Love is there for everyone”, the last record before the White Album, still met with reluctance here and there, because Till Lindemann, the singer, in the pictures spanked a naked woman, in the song “Pussy” the male genital as bratwurst and The female as sauerkraut singing and the whole band was to see it in a porn video. Seven years ago. They were politically innocent times, especially in the German East.
There is also such a song on “Rammstein”, it is titled “Sex” and is about a barbarian who does not care about morals and norms. He follows his lower instincts: “Better disgusting than again not.” Then “doll” runs with Till Lindemann as a small boy who can not sleep because his big sister next door works as a whore. She dies, he kills her doll and roars: “I'm not feeling well!” Rammstein is always a bit crazy, but after “Germany” you can hardly hear such songs any other than politically. Barbarism against Morals, Brothers and Sisters, East and West, 2019.
Germany now had five weeks to understand “Germany”, the song and the video: A dark-skinned Germania, played by Ruby Commey of the Berliner Ensemble, leads the Germans through their history and against the archenemy, as a Nazi dome and nun, RAF Hostage and human sacrifice for the men who feed on her. “Overpowering. Superfluous. Superman. Tired, “sings Till Lindemann. Rammstein would not be Rammstein without Sigmund Freud and his sexual symbolism. Swastika, hammer and sickle, spiked helmets and V2 rockets.
All the warriors, princes of the church and party leaders all adore Germania as a goddess – the little men whose great, unrequited feelings turn into violence. Against others, but also against oneself. The German drama does not look as if in the video as in the TV series and films, in “Babylon Berlin”, “The Living of the Others”, “Weissensee” and “Vorwärts immer!”, Only more true and tougher. Rammstein play Old Berlin bar club, Stasi-philistine and concentration camp overseer – and the victims also play it.
In “Radio” they are reminiscent of Kraftwerk, the most German band of the old Federal Republic, to tell their own story. At night at the world receiver, “every song was forbidden / So dangerous, foreign notes”, “Every night and again I just fly away with the music / limbo through bright spaces / No boundaries, no fences”. “Radio” is illustrated by a video she shows in the old East Berlin Funkhaus as under the West Berlin radio tower. There, but maybe this is too much of a good thing in the interpretation, they were given some echoes – until last year, two rappers because of a really scandalous Auschwitz text, the German music prize, which apparently did not want to draw red lines, ruined. Rammstein are famous for crossing such imaginary lines. But it was never about the political history, but about fantastic stories of retort children, incest and cannibalism.
Now it's the turn of capitalism. “What I love” is the name of a song. “For all beauty you have to pay”, it says in it and: “I can do without luck, because it carries misfortune in itself.” The next song is called “Diamond”, it is about the empty, soulless beauty, from the shiny surface and the light of things. Diamonds, they say, are just stones. The old Rammstein staff also appears, the tragic voyeur (“far away”), the child molester (“Hallomann”) and the agnostic (“Show Yourself”), who shouts at his absent God because he would like to believe in something , You can understand everything as systemic critique if you are attuned to it and get involved with it – and if you see the band as an entertainment company that was founded in the time of the aftermath of East Berlin.
Flake, her, as he calls himself, keyfucker, writes in a photobook about the early 1990s: “When the wall came down, everything was completely open, and we were actually absolutely happy, everything had come out even better than we had wished and everything was nice. But after the reunification it went downhill. The whole capitalism in all its facets. “From funny punk bands became a serious German rock band, which was as virtuoso in the economics of attention as in their music and their staging. The fact that the Germans considered the characters identical with the artists was on the one hand always a little annoying and on the other hand always very happy.
They never had tattoos, they have tattoos, in “Tattoo” Lindemann sings: “If you have to be beautiful, you also want to suffer.” It's about who you are and who you want to be, about your own identifiable suffering. “You. I. We. You, “it says in” Germany “and in the remix then even:” Separated united / We are, we are, we are / you are, you are, you are. “Two German Wirs. If they pull through the stadiums again, all “Germany!” Will roar like at “I want fun!” By Markus in the time of the New German Wave. Rammstein abolish Germany for the so-called New German Hardship, finis germania,
At the end of their film, after playing “Sun” on the piano like a Schubert fantasy, Ende is in fracture. In their band identity Rammstein were never too bad for patriotic stereotypes. A factory appearance in the 1939 inaugurated heating plant of Volkswagen in Wolfsburg, a joint concert with Heino at the Festwiese in Wacken. Only in Bayreuth at the Wagners on the Green Hill they were not yet. A new song is called “foreigner”: “I'm everywhere at home, my language is international.” It's a mood song, a hit that celebrates sexual globalization and the “foreigners” who meet where the traveling foreigner meets them, Although locals are, but what does that mean?
No we are left. Neither that of the other, the foreign, which the right-wingers call ethno-cultural, nor the national neurotic own. Identity is individual, the collective is a construct, from the We back to the I. From the conflagration to the match. In Berlin, Rammstein had already declared dead eight years ago and laid out her death masks. The album would be “Rammstein”.
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