There was a lot of hype built up for Liebe Ist Für Alle Da. Band members and representatives have for a while said this album is as hard as Rammstein’s early albums (Sensucht), with all of the experimentation of the band’s more varied albums (Mutter), while at the same time incorporating all of the maturity of the later albums (Rosenrot). That’s a very tall order, but this album really delivers. Note however, this album is actually pretty experimental. No single song sums up the album, so don’t judge it based on one single. And with all the complexity, I’d also caution you to give the album at least a second listen-through before passing judgement. This is a very full plate- don’t feel bad taking seconds.
The album opens up with “Rammlied”. Many reviewers have been accurate in saying this is something like the older track “Rammstein” remade with the band’s full maturity, without losing any of its edge. Of particular note for long-time listeners is Christoph Schneider’s drumming. He’s been mic’ed up to 11, and he’s even sneaking some double-bass throughout the album. Overall, a great opening. “Ich Tu Dir Weh” begins the experimentation in earnest- there’s actually a lot of clean singing where Till drops the growl during the power portion of a song, and I can’t help but feel some influence from the nu-metal genre. It adds up to an odd but very effective mix that I really enjoy even though I hate nu-metal.
“Waidmanns Heil” (Hunter’s Call) has the band having a lot of fun with a theme- Till even gets down into panting like an animal. “Haifisch” follows up on the side of fun, sounding something like the icebreaker that was the theme of “Reise, Reise” is crashing through a bordello. Bückstabü (B********) has till grinding out the lyrics until they’re virtually puke metal in parts, making a play on language- Bückstabü is an imaginary word the band intentionally blanked out on the cover so people read more into it than is there, just the sort of language play the band is famous for. These tracks are all solid, and all rocking in their very different ways.
And then, “Frühling in Paris”. Wait, hold on, a song about a city that’s not deeply satirical? “Frühling…” sounds hopeful and crisp. It’s positively refreshing. You want to roll down the windows and enjoy the summer sun with this one. The band must be setting us up for something- and that something is “Weiner Blut”. The icebreaker has turned up the hill and is mowing down a gothic castle, apparently. “Frühling…” and “Weiner Blut” form a duo that show the range of the album, from beautiful and hopeful and light to dark and foreboding and heavy.
“P****”. Yes, the word is pussy (the cat, I swear… fingers crossed). I’m not sure how so many negative reviews take this track so seriously- the band hits a dance beat partway through that sounds straight from Ibiza. They’re clearly just having a lot of fun again, complete with some of the worst sexual metaphors you’ve ever heard (stick bratwurst in the sauerkraut). If you’re really taking this track seriously and being offended that the band is singing such silly lyrics, you’ve missed the bulk of Rammstein’s career and probably just aren’t used to hearing the translation so directly. “Liebe Ist für Alle Da” is a fast and yes again fun track, with a lot of clean singing and catchy guitars. “Mehr” ranges from some heavy electronic sound in the keyboarding to hard as an anvil metal guitar to melodic singing- it’s all over, yet it all comes together like a hammer coming down.
“Roter Sand” is an incredibly interesting change of pace. Acoustic guitars and whistling, in my metal band? This song is incredibly emotional and evocative, surpassing even “Ein Leid” in terms of frankness. It sounds like the theme for the best western ever filmed, and frankly I was nearly moved to tears at one point from the beauty of this track. It’s that good.
I’d seriously encourage everyone to get the Special Edition digipack. Not only is the digipack great quality, but it’s not much extra money ($1 as of writing!), and you get great bonus tracks. “Fuhre Mich” contains more experimenting between heavy as hell guitars and very clean, simple singing for the chorus. “Donaukinder” sounds like oldschool Rammstein, with simple but wailing guitar backed by massive keyboarding. “Halt” has the band on overdrive, with Till screaming over raucous guitar. “Roter Sand [Orchester Version]“, and “Liese” are both takes on “Roter Sand”, and sound like they’re mixes of the song rejected in editing. It’s very interesting to get some insight into the band’s process. The final pieces, especially the orchester version, sound very complete and solid even if I still think the final version is the best.
Overall, this is a great album where I love every single track (the “Roter Sand” edits don’t count). My favorite tracks so far are “Roter Sand”, “Frühling in Paris”, “Ich Tu Dir Weh”, and “Pussy” (like a cat, remember?). Not that the harder tracks aren’t excellent, but it’s great to hear a band this established really playing around with their sound and trying new things. I happily hold this up to any of Rammstein’s other releases, and track-for-track, I have to say this is a strong contender for the band’s best album to date.