Rammstein - Liebe Ist Für Alle Da

Published November 06 2009

*=Staff's pick	Rammlied* Ich Tu Dir Weh Waidmanns Heil* Haifisch B******** Frühling In Paris Wiener Blut* Pussy Liebe Ist Für Alle Da* Mehr Roter Sand

Genre	Industrial Metal	Till Lindemann	Vocals
Tracks	11	Richard Z. Kruspe	Guitar
Runningtime	46 Min.	Paul H. Landers	Guitar
Label	Universal	Oliver Riedel	Bass
Release	16 October 2009	Christoph Schneider	Drums
Country	Germany	Christian 'Flake' Lorenz	Keyboard
Similar artists	Oomph!

Finally the emperors of industrial German march metal are back, after four years of almost complete silence. The expectations were high, to say the least. Not even the first single Pussy could keep the thoughts of a masterpiece back. Pussy is a chapter for itself. As a catchy hit song it does not represent the rest of the record, just as America was a bit misplaced on Reise Reise. Actually it could as well - or even better - been a song from the fellow German eurotechno giants Scooter.

So I listen, and listen again, and again. So far no song has stepped forward as a favourite. Actually, I catch myself almost waiting for Pussy (the song…) which at least leaves a lasting impression. Finally I must conclude that this is nothing short of a big disappointment. That Rosenrot, as a 'left over' quick up follower to Reise Reise, was a bit weak is understandable. But Liebe Ist Für Alle Da is actually even sallower.

First, where are the hits? The band that has given us at least a handful of live favourites from each of the first four records suddenly stands almost without them. Where is the extreme German-ness that is the band's trademark? The patented furious marching beats and riffs? Well they are there in Rammlied and Mehr, but not at all as heavy and mighty as usual. Where is Till Lindemann's evil robotic voice? He has never sounded this lame before. Where is the heaviness in the production? 'Ballads' has never been the bands strongest point, but Frühling In Paris and Roter Sand are almost ridiculously bad.

There come glimpses of hope eventually. Wiener Blut, about the basement dad Joseph Fritzl in Austria, seems genuine and grows to a favourite. When Till yells 'Willkommen in der Dunkelheit' is the number one moment on the record. The chorus in the title track remains after a few spins. Waidmanns Heil (speaking of: the riff is very much alike the one in Candlemass' Black Dwarf!) would perhaps had made it as a filler on one of the earlier records as well. But in between there are too many uninspired moments of recreated old song patterns and simply slow and dull songs that lack the Rammstein spirit.

See also review of: Rosenrot , Reise Reise , Benzin , Mein Teil

Performance	Originality	Production	Vocals	Songwriting
5	8	5	6	5

Summary
5 chalices of 10 - David

I feel obligated to barge in here and raise this a few points. Rammstein have indeed soften up quite a bit the past albums but here I feel they are definitely back on the right track again. The opening four songs are all great. They are classic and heavy enough Rammstein with great pondus and distinct riffs. I would go as far as saying that it's almost on par with the Sehnsucht/Mutter era. I am quite frankly puzzled over the fact that David does not feel the same way. Granted, the album does dip a bit too much in the mid section to gain strength again at the end but the overall grade can not be anything less than: //Tommy (7 of 10)