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Liebe Ist Für Alle Da (standard version)

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Average Rating
★★★★☆
(19 Reviews)

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  • 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.

    Posted on November 24, 2009