Creative Filth
Rammstein appear to have sneaked their latest album 'Rosenrot' in through the backdoor. Hot on the heels of 'Reise Reise', the legendary German pyromaniacs are back with another full length album that shows, quite clearly, that they're still firing on all available cylinders.
Kicking off with first single to be released, 'Benzin', their trademark anthemic choruses and vibrant guitar work is visible from the off. Despite the language barrier, it's always easy to find yourself attempting to sing along to Rammstein. There's something strangely addictive in the delivery of their vocals, the haunting feel to their menacing sound.
'Mann Gegen Mann' plays on the same formula cooked up by 'Benzin'. There's the repetitive guitars that are restrained until a vicious, bloodthirsty chorus goes up in flames. Rammstein are so effortlessly cool that it doesn't matter their songs follow much the same pattern. Like a well worn pair of jeans, if it fits perfectly, why change for something less comfortable and stylish?
'Rosenrot' is more of the same, so it's not until 'Spring' that the listener is given a change of tune. 'Spring' is your typical slower Rammstein song. Filled to the brim with atmospheric synth work, the guttural German language seems almost out of place on such a thoughtful, delicate song. It's a delicious contrast and one of the highlights on the album.
'Wo Bist Du' continues with the impressive power of 'Spring'. Like a man rippling with muscles holding a ballet dancer's neck at the point where it almost starts to hurt, you can see below the songs calm restrain is a violent, primal power raging.
Rammstein then drop the tone further for 'Don't Die Before I Do'- an unusual find since the industrial grime seems to have been showered away, leaving something that sounds purer than you'd expect from a band obsessed with fireworks. The inclusion of Sharleen Spiteri on vocal duties alongside Till Lindemann gives the song an edge above the previous two tracks.
'Hilf Mir' brings back the aggressive, dirty sounds that Rammstein are best known for. Achingly loud and aggressive, the guitars give way to the more romantic verse, but it's not long until the chaotic industrial chorus is back again. 'Te Quiero Puta!' has something of a Spanish feel about it. There's a kind of gleeful passion buried away under heavy drumwork.
Final track 'Ein Lied' provides another creative twist (albeit mournful) to what could so easily have been simply a repeat of Rammstein's best work. Somehow it feels like this album could have done with a few more months in the nest for hype to build, but with System of a Down bringing their second album of 2005 out in just a weeks time, Rammstein have probably done the right thing in giving their album a headstart.