What was missing: ramstein In a fragile and heartfelt version, it fits with the mood that has gripped the world since Covid-19 stopped it. After the pandemic hiatus, the Berlin group returns introspectively and even melancholy with a work called Zeit (time) that leaves a reflection trail on the volatile nature of existence. There are those angry lines pouring out of the title track between the slow steps of heavy metal: “We see but we are blind”, “we are drifting towards the end”, “time shows no mercy”…
The flamboyant and contingent material, with its titanium guitars and thick electronics, now conveys more mental memories than the desire to invade the neighboring country. If even men like Rammstein no longer feel masters of their destiny, what is left? However, Zeit is not an anti-Rammstein album, but reflects its identity in a more serene and subtle way, perhaps realizing that the military parade they practiced in their previous work won’t last forever. It opens with a bit of anguished gothic art (Armee der tristen looking for motivation in the face of “withered flowers” and the “party of the hopeless”) and closes with Adieu (a fad from the band?), a freely interpretable farewell ad. ?), cries for “one last song, one last kiss”, assuming “no miracle will happen” in it.
Tick tock, time goes by
While their previous album took 10 years to make, the new album only took three years. It was a sound and soul validation work, and it tends to retreat from even the most invasive profession. A story by Meinen träten, where the Zeit theme applies pathetic balladism (extremely extreme in the chamber remix by Icelandic Ólafur Arnalds, published in the single), Schwarz giving wings to lyrical piano arpeggios. truculenta (abusive mother to her son). But there’s no shortage of brutal strategic insults in Zick zack’s crushing path with acid text (taunting cosmetic surgery, again appealing to the passage of time: “stop it, tick, tick, you’re getting old”). In that extravagant fairground song called Angst and Dicke titten.
Without breaking his law, Rammstein overlooks the signs of weakness, passing through his private impulses, his literary imagination of grotesque excesses, and his taste for military oppression. And he doesn’t give up his admiration for the industrial epic, as expressed on the cover of the band’s members descending the stairs of the Trudelturm, an aerospace research monument in Berlin. An image, authored by none other than Bryan Adams, the rocker (light) is also known as a photographer.
Source: Informacion
