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Metal - Released October 16, 2009 | Vertigo Berlin

Distinctions 4 étoiles Rock and Folk
Anyone familiar with the industrial metal band's dark sense of irony should take one look at the title of Rammstein's 2009 album LIEBE IST FÜR ALLE DA ("Love Is There for Everyone") and conclude that this one is a mean monster. Combining the tightness and punch of their 1998 album, Sehnsucht, with the musicianship and elaborate textures of their later work, LIEBE IST is a grand achievement, skillfully dividing its time between razor sharp metal rockers like "B********," or the opening theme song "Rammlied" and nostalgic cabaret pieces that conjure the spirits of Weil and Brecht at a goth club. The best of the latter is the naked and haunting closer "Roter Sand," but little touches of a sinister yesteryear are everywhere, like the fake vaudeville music in "Haifisch," or the soundtrack strings of "Wiener Blut," which are eventually overcome by a guitar-crunching juggernaut. This strange mix of styles is more effective here than it has been for about a decade, and there's no threat of the album becoming ponderous, either, as an economical track list and purposeful songs wipe away the sins of their previous album, 2005's Rosenrot. The group's loyal fans have remained loyal throughout the past decade and have braved all the difficult but ultimately rewarding efforts that came with it. To them, LIEBE IST FÜR ALLE DA is the big payoff and an instant classic. For the rest of the world, this is that once-a-decade, perfectly balanced Rammstein album that's immediately accessible but wide and deep enough to explore for years to come. © David Jeffries /TiVo
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Metal - Released December 2, 2011 | Vertigo Berlin

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Metal - Released January 1, 1995 | Vertigo Berlin

Rammstein's first album was about what was to be expected from a bunch of Germans who happily grew up on everything from Skinny Puppy to Depeche Mode to Laibach and back again, not to mention plenty of skull-crushing metal straight up. Precisely brutal and often brilliantly arranged -- the band aren't per se inventive, but they bring everything together to make something astonishingly radio-friendly out of something that isn't necessarily -- HERZELEID in particular is the logical conclusion of KMFDM's self-referential electro-metal. The band freely invokes its own name throughout the way that group did in its songs -- the final tune is called "Rammstein," to top it all off -- and the riffs readily connect the dots between the older band's clipped guitar bursts and their even more compressed nu-metal equivalents. The swaggering sass and stomp of "Wollt Ihr das Bett in Flammen Sehen" makes for a near-perfect start, and from there the band merrily -- without a smile on its collective face -- has a great, loud-as-hell time. The downside is that the formula is in some ways so perfected they don't vary it much -- verses with roiling basses and stomping drums, cascading feedback apocalypse and sometimes squelchy samples adding textures and beats as needed. But there's more there than might be guessed -- the sternly beautiful choruses on "Der Meister," soothing keyboards suggesting a "we all march forward!" anthem for the modern day, the nods toward jungle/drum'n'bass on songs like "Asche zu Asche," the full-on goth/Depeche-into-metal love of "Heirate Mich" and "Laichzeit." Then there's "Seemann," a power ballad actually worthy of the name, the type of song sung looking out over the Baltic Sea as the sun sets and you contemplate angst to the nth degree. If you're going to go, go big. © Ned Raggett /TiVo
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Metal - Released January 1, 2004 | Vertigo Berlin

Taking three years to release their follow-up to MUTTER is a good idea since REISE, REISE is more of the same -- the same grit, the same growl, and the same dramatic, orchestra choruses. There's a bit more ingenuity in the production and a little more focus in the songs but not enough for the nonfaithful to pick up on. Unfortunately the lead single, "Mein Teil," is no "Du Hast," but the damning "Amerika" almost equals their breakthrough track. Whether or not Rammstein's label has the guts to release the band's acerbic "Coca-Cola/Sometimes War" view of the States as a single is another question, but it's the key track to the album, an album that has a couple more, minor surprises. The loose, bluesy guitar on "Los" adds some quirk to the band's stern, Teutonic palette, while the sinister "Stein Um Stein" creeps more than stomps in parts. That's it for twists and turns, but few bands can industrially grind as convincingly as Rammstein. Same as it ever was, REISE, REISE won't do much to increase the band's fan base, but being a tight, free-of-filler album, it'll satisfy the faithful. © David Jeffries /TiVo
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Metal - Released January 1, 2001 | Vertigo Berlin

With the first Rammstein album you hear, it's hard not to be slightly amazed by the sheer chutzpah of it all. The German lyrics, the prog rock tendencies, the classic metal guitars, and the ridiculous basso profundo vocals -- you either fall for it, spurn it, or are utterly bemused by the extremeness of it all. Unless you're a fanatic, it wears a little thin the second time around. And for most listeners, MUTTER, the group's third album and sequel to their inexplicable commercial breakthrough Sehnsucht, will be the second time around since it's their first release since becoming a high profile act. Thing is, if you've heard that record, you've pretty much heard MUTTER, since all the trademarks are in place, without much noticeable variation. Yes, there are slight differences, chief of which is the cleaner production, which streamlines everything so the guitars don't seem as heavy, the songs not as epic, and the whole enterprise not as ridiculous. That's not the same thing as stripping the group to the basics, however; it's more like wrapping up the music in nice, shiny paper and putting a ribbon on it. That's not really good for a group like Rammstein, but it doesn't dilute their impact, either, because they are what they are and no amount of polish will make them mainstream (nor will it make it possible to take them seriously). So, that does mean that MUTTER isn't as good as Sehnsucht, but it isn't a stumble either -- and if you liked the first, you'll like this (not the same thing as being amused by the first -- in that case, this will try your patience). That still doesn't answer the question whether anybody outside of diehards needs more than one Rammstein album, but that's just a question of personal taste. © Stephen Thomas Erlewine /TiVo
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Metal - Released May 19, 2017 | Vertigo Berlin

Paris documents a 2012 Rammstein show performed during their Made in Germany 1995-2011 tour. The 22-track collection features some of the band's biggest hits including "Du Hast," "Sonne," and "AMERIKA." © Rich Wilson /TiVo
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Metal - Released January 1, 2005 | Vertigo Berlin

To date, Rammstein haven't been able to equal the excitement and power of their breakthrough 1998 album, SEHNSUCHT, and while ROSENROT suffers that fate, there's an EP's worth of brilliance and one track that towers above them all. Just as exciting as their massive hit "Du Hast," "Te Quiero Puta!" is a glorious blend of the group's usual Teutonic crunch and mariachi music that earns the exclamation point in its title. It's loco to hear Rammstein with bright horns and Latin vocalists and just about as odd to hear them with Sharleen Spiteri -- lead singer for the classy pop act Texas -- whose sweet and somber vocals make "Stirb Nicht Vor Mir (Don't Die Before I Do)" sound very dreamy, very Nightwish. The out of control "Zerstören" and "Benzin," with its biting social commentary on the world's addiction to oil, are the final two tracks for the hypothetical four-star EP, since the rest of ROSENROT sounds a bit too formulaic. Most everything is tense during the verses, then blows up during the choruses, but if there's one area the band has made giant steps, it's with the lyrics. Greed, irresponsible hedonism, and modern-day interpretations of Goethe are touched upon through wordplay and metaphor, all of it lost on the non-Deutsch speaking set. It still doesn't make up for the stale turns the music takes on a good portion of the album, but there are signs that SEHNSUCHT's worthy follow-up is more possible than ever. © David Jeffries /TiVo
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Metal - Released August 22, 1997 | Vertigo Berlin

First introduced to the public in the soundtrack to David Lynch's Lost Highway, Rammstein produces a unique brand of menacing Teutonic rock, reconciling forebears (and admitted influence) Kraftwerk with the sonic assault of Nine Inch Nails. SEHNSUCHT manages to come on strong enough to get the Germans to forget about David Hasselhoff, at least for a while. As the eerie Arabic sample which introduces the opening title track dissolves into a crushing electric guitar attack, the listener descends into the dark sonic dungeon that is Rammstein. Vocalist Till Lindemann growls atop the group's twin guitar force, intoning the band's strangely romantic lyrics with snarling menace; the result is brutal drama of the highest order. From the exotic sonic experimentation of "Tier" to the tight crunch of "Buck Dich," SEHNSUCHT is a heavy, scary thrill ride, pausing for breath only with the comically soft "Klavier." © Rovi Staff /TiVo
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Metal - Released December 2, 2011 | Vertigo Berlin

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Metal - Released January 1, 2012 | Vertigo Berlin