Rammstein released their seventh studio album on May 17. Their first release in ten years, the self-titled Rammstein gives listeners something to chew on and has managed to stir up a bit of controversy in the process. The German band has been making waves since the release of their 1997 debut Herzeleid, sparking the creation of an entirely new genre for themselves: Neue Deutsche Härte, which translates as New German Hard and combines elements of electro-industrial and groove metal, or in layman’s terms, dance metal.
“Deutschland” starts the album off, opening with lyrics “du hast,” a nod to their 1997 hit of the same title. The music video for this track really blew me away; it’s packed with German history, from AD 16 during battles with Rome, to the holocaust (the inclusion of which is apperantly causing lot of controversy), to the Berlin Wall, and interestingly features black German actress Ruby Commey as Germania, birthing Germany’s future. It was so packed with German history, in fact, that a doctor of literature and language from Oxford University dissected each event in the video in a recent article from music magazine Metal Hammer. The lyrics suggest a battle within German citizens to love their country despite its troublesome past.
“Puppe” is quite literally jaw-dropping. Leader singer Till Lindemann spits distress, with vocals so gritty and raw it left me with goosebumps and is definitely my favourite track.
“Ausländer” translates as “foreigners” and is a super catchy and electro-heavy track, but the music video has stirred up backlash. It features Africans in traditional garb welcoming and partying with members of Rammstein, who are dressed up as European colonizers. It sneaks in images referring to the impact colonizers left in Africa, such as a Catholic priest sternly lecturing some African children, teaching them his language. Eventually the band get back onto their boat, leaving behind a bunch of blonde-haired children. The chorus is sung in several different (Western) languages: Mi amor / mon chéri / Ausländer (Ausländer) / ciao, ragazza, take a chance on me.” The song seems to be about having one night stands in different parts of the world, a critique on colonialism, taking what’s wanted from a land, and then leaving: “I am not a man for one night / I will not stay more than one, two hours / before the sun laughs again / I have already disappeared / and continue my rounds.” This music video has stirred up some controversy, but interestingly enough not as much as the “Deutschland” video.
This is a well-structured and obviously well-funded production that balances social and personal commentary. The first five tracks are really fast and catchy. “Was Ich Liebe” marks the turn into the sad, disillusioned love ballads “Diament” and “Weit Weg.” But the album only briefly slows down here; “Tattoo” and “Halloman” pick up the pace again with haunting melodies over heavy riffs.
The album doesn’t take itself too seriously though. A lot of it is really danceable and fun, featuring a four/four rhythm, heavy synth bass, and chantable lyrics. That being said, it’s still packed full of depth, history, and valuable social commentary on organized religion, feminism, colonialism, and Germany’s troubled history.  It paints a picture of disenchantment within the self and within the context of being a citizen of a country with a colonial and unsavory past. Rammstein really aren’t straightforward. They push buttons, but also provide a suggested commentary on something problematic in society, leaving the listener with questions and giving people something meaningful to talk about. (Although, interestingly, Rammstein has disabled comments on all their YouTube videos.) Clearly, after ten years, the passion has been reignited for this band and I’m looking forward to seeing what comes next. For now, this album is definitely going to be on repeat for a while.
Darien Johnsen is a UFV alumni who obtained her Bachelor of Arts degree with double extended minors in Global Development Studies and Sociology in 2020. She started writing for The Cascade in 2018, taking on the role of features editor shortly after. She’s passionate about justice, sustainable development, and education.
