I love this band and I simply keep on lovin them over the years. They get better and better with every new album and this album is awesome, awesome, awesome big time!!!! Love it!!! Powerful hard hitting aggro explicit german industrial metal. Wicked! Best of 2009 so far.
Metal Album Reviews[RSS]
After Rosenrot (an album of unused Reise Reise songs mixed with new ones), Rammstein returns with Liebe Ist Für Alle Da, the band’s most musically diverse, and possibly most controversial album to date. Some fans have complained that some of the songs from this album are too light compared to music from the previous records, and a lot of people have stated their displeasure over the first single P****. They’ve always had melodic songs on their records since the first record Herzeleid, and as far as that first single: it’s not meant to be taken seriously, and if you don’t like it, there is a “skip” button. I like that there is a mix of styles from the previous albums, and some of the songs are more up-tempo compared to songs from Reise Reise and Rosenrot. The diversity of this album keeps it interesting: you’ve got the heavy songs, the straight rockers, and the melodic tracks. For a band like Rammstein, it works. What I think probably makes this album their most controversial is not only the artwork (what looks like the band members around a dinner table carving up a naked woman), which I’m glad they found a way to cover (when you see it at the store, it’s covered by a paper strip with fake artwork that comes off when you take the plastic wrap off) so that many stores could carry it, but also their pornographic music video for the first single. That shows that the band is definitely not worried about having their music on MTV or any channel at all. Fans that appreciate all of the band’s music will likely eat this up, while anybody expecting another album like Mutter, Reise Reise, or even Herzeleid or Sehnsucht will probably be disappointed.
It’s strange to be moved so emotionally by music without understanding the lyrics. Between the time this album started and finished, I was literally moved to tears twice, and was brought to clenched fists and headbanging which I could not contain. I have not felt like this since Mutter was released in 2001. This one is slightly better than Mutter, which for me makes it their best one ever, and I hope best one yet. With a title like Liebe Ist Fur Alle Da (Love For All Of You), it’s easy to feel like this might be their last. If it is, then they went out on top. This is the album that I feel like Rammstein was always trying to make…a strange and exotic blend of theatric, gothic, and industrial elements which form something that sounds unique unto itself. While their first two releases (Herzeleid and Sehnsucht, respectfully) focussed primarily on the industrial elements, with some moments in Sehnsucht hinting at a more gothic tone, the release of Mutter saw Rammstein at the top of their game. Mutter was an adaption of Rammstein’s sound without being a departure, a simple addition of string and choir effects on top of their pre-existing sound, with more emphasis on melody from the synth sounds and Till’s vocals. This “simple change” as I call it, resulted in a dramtic difference in something that still felt so familiar, and resulted in their best album so far. Presumably excited by the results which this addition brought, the band used their next two albums (Reise, Reise and Rosenrot, respectfully) to go further with this element. While I did feel Reise, Reise to be a slightly weaker release than Mutter, the sake of exploration and the stronger tracks of the album more than justified what I felt was a journey away from some of their core elements. This journey however seemed to go too far with Rosenrot, which I suspect was a B-sides album of sorts being that Rosenrot was originally rumored to be the title of Reise, Reise and that it was released only a year later. If these were B-sides it is clear to see why, but as an album this release did not stand up for me and was the weak link in their chain. However, if Goldilocks taught us anything, it is that sometimes you have to go too little, then too much, before you find what’s just right. This, I feel, is what explains Liebe Ist Fur Alle Da. Much like Mutter felt like the simple addition of strings and choirs to achieve a more pronounced gothic element than Sehnsucht and Herzeleid, Liebe Ist Fur Alle Da seems like the return of their industrial sound and rough heaviness to this primarily theatric style of late. The fantastic production blends these sounds into an inseparable mixture. This is why I say it is the album they’ve always been trying to make, and did to a certain extent already with Mutter, which along with this album makes the only two where I feel all the elements combined and were equally represented. What puts this latest just a bit ahead of Mutter is the inseperable nature…while listening to most of the tracks on Mutter you can assume fairly easily which elements were part of the original draft of the song and which were added later. This simply is not true of Liebe Ist Fur Alle Da, which neither neglects nor emphasises the ugly over the beautiful, or the soft over the rough. If there are two weaker tracks, they are B********* and Pussy, but I honestly feel after the emotional journey of the first seven tracks I was ready for the lighthearted single which had me rolling my eyes but still moving and getting into it (a strange combination). The album feels and flows like an opera, with each track falling at a logical point, never shattering the overall feel (as I said, Pussy merely cleanses the pallate for the final act). The first three tracks are there to park your ass and make you realize that this is something big, while track 4 acts as an anchored wade into different waters. The emotional climax of track 6 leaves Tracks 7 to be more of an atmospheric affair, with track 8 clensing the pallate for the more intricate Tracks 9 and 10. Track 11 feels, partially because of my Western thinking associated with the whistling, like a walk off into the sunset after the good fight has been fought. If this is true, then the fight was won, and the day belonged to Rammstein.
I’ve been waiting for this ever since Rosenrot came out, which seems like a century ago. Though mislead with the single P****, the downright worst song on the album, I was a bit weary of buying a full length album because of the single. P**** didn’t seem like something they’d do, but I must say that the 11 song album is redeeming.
1. Rammlied has a likeness to it from their earlier song ‘Hallelujia’ (not sure how it’s spelled). This has a lot of synthesizer sound to it, choir, organs, classic of the band. I’d probably rate this song as average/ possibly above. Good, fast beat.
2. Ich Tu Dir Wen. This song starts a little slow, then builds well. Chorus sounds great (even though I don’t know German lol). I really like the singer’s voice in this one, pitch changes, etc. Steady, drumy beat. I’d have to rate this song above average. One of the best on the album.
3 Waidmanns Heil. Starts out at a banging, sprinting pace and has that electronic drum beat to it that’s used well for this song. Till (the singer) sounds pretty evil here, especially at the chorus, where he shouts the lyrics (without overdoing it, of course). I’d rate this song same as number 2
4.Haifisch: Starts off with a weird synthesiser sound, then singing. Not fast, not real slow. Bassy drums. Chorus then explodes! Then goes back to the same medium beat, slows, and explodes again. Love that choir in the background, which makes it sound like spiritual music … a long drum chorus with slight guitar, slows, then explodes! I gave this song above average. 4 of 5 stars.
5. B******** : Begins with a wicked guitar riff, drums, and roaring guitar. Till’s voice is soft and meek at first, but you can tell he’s serious. Then chorus, which is loud and kinda annoying. I don’t like this song. I rate it 2 of five stars, five being best.
6. Fruhling in Paris: Starts out with a peacful guitar strumming. Soft, pretty voice of Till’s. Sounds like a melody, reminecent of Seemann. Builds a little, but is never heavy. I’d classify it more as a ballad. One of my favs of the album. If you like Seeman, Sonne, Ohne Dich, Stirb Nicht Von Mir, you will probably like this. I’d rate this 5 of five. At least worth one listen, anyway.
7. Wiener Blut: Starts a little like Mein Herz Brennt/Speeluhr, then blows up with fast music, stops, explodes, stops, then goes all wild. Lyrics are loud and unable to make anything out of them. Just yelling. I dislike this tune. 1 and half of five stars
8. P*****. I’m sure you’ve heard this one; if not, you didn’t miss anything. Lyrics are childish and corny. I’d rate one of five stars. My LEAST fav song on album.
9. Liebe Ist Fur Alle Da: Cool drumming, fast, then the wail of guitars. Very heavy.
Chorus is serious-sounding with a wicked tone. Builds, builds, and finally climaxes. I’d rate a 3 out of five. Maybe higher Pretty good song.
10. Mehr: Starts with electronic guitars. Slow, but cool. Not slow like the Paris song. Especially not till the chorus comes. When it does, it becomes a good, bang-your-head song. Remindes me of something off Sechensuch (I know, my German spelling is bad). I’d give this song 3 and a half stars
11. Roter Sand: Stars with whistling, like Engel. Another ballad. Soft guitars, sweet lyrics. Most mellow song on here, probably moreso than the Paris song. Also reminds me of Seemann. I’d rate this four or five stars. I’m a sucker for the softer Rammstein’s songs.
All in all, I thought this was a pretty good CD. I think the single P**** ruined it for some people, but I don’t think any Rammstein fan would be dissapointed with any of the songs on this album, save the single. It’s not their best album, and definitely not their worst. I wouldn’t know what to say their best album is if I had to. The weakest ones for me was their very first and probably Reise Reise. Their best is either Sechensuch or Mutter. A lot of people didn’t like Rosenrot, but I found quite a few songs on there I liked. Anyway, I’d recommend this. I just wish I would have gotten the extended album instead. Oh well.
“Liebe ist fur alle Da” is just as surprising as the early critics said it would be. Rammstein comes back with more talented drumming and vocals than I ever expected. The guitars are still simple and straight-forward, but that doesn’t mean the music isn’t full of personality.
The music is the most mature and professional that Rammstein has played so far. Till goes out there briefly with short death growls in a couple tracks and in intervals throughout the album he showcases very melodic singing even better than in “Mutter”. The rest of the vocals are all “Herzeleid” and “Reise, Reise”-style shouting.
The production on this album is the greatest thing. The music is the clearest and cleanest that I’ve heard from an industrial band. The bass guitar is clearly audible, the snare and bass drums have that authoritative, sensual pounding again and Till’s vocals, while occasionally swallowed by the guitars, fit perfectly with the music.
It’s impossible for me to compare it with other music because… it’s Rammstein. They don’t really fit in with other bands. But within Rammstein’s own discography, if this album isn’t their best it’s a tie with the best.
The catchiest songs with the most replay value are “Ich tu Dir Weh”, [...], “Weidmanns Heil”, “Wiener Blut”, “Frueling in Paris” and “Mehr”. [...] is silly and obnoxious, but when it’s stuffed in with the rest of the album, it becomes fun, and the sense of humor shows. The way you felt about the songs “Reise, Reise” and “Ein Lied” is probably the way you’re going to feel about “Rammlied” and “Roter Sand” respectively.
“Rammlied” deserves a fair chance to be considered as a creative and brooding, updated themesong for the band. The bits of choir and Gregorian-esque delivery of the opening lyrics are very stylish and add atmosphere to the opening track.
“Frueling in Paris” has a great, heart-warming melody, and while it may not be Beethoven, coming from Rammstein it’s a special song.
“Fuehr Mich” and”Donaukinder” on the second CD are very melodic and moving (and hey, there’s even a slow solo on the latter), and “Halt” is a good song to round the second cd out with.
Every song on this album is classy, and dark, in spite of the strangely bright and vibrant choruses. Again, the production is beautiful.
I recommend spending the extra dollar (I mean seriously…) on the 2 disc version versus simply buying the regular package… The re-hashes of “Roter Sand” weren’t that interesting to me but “Fuehr Mich” and “Donaukinder” are gorgeous and indispensible songs that I loved after one play-through.
Summary: Buy the album. It sounds great, but expect changes in the band toward a more “melodic” aggressiveness… and the 2-Disc edition is definitely worth the extra buck. Oh, and play this on a nice sound system if you can, you’re robbing the music otherwise. Youtube sounds nothing like this. =P