Back

EMP 100 - October 06

Global union of the nations

They are a band of superlatives. Rammstein – the phenomenon from East Berlin. Without doubt successfully concerning money and music the six warriors developed to cultural ambassadors worldwide throughout their 12 years band history.

Rammstein tilled the whole globe playing live and fought their way from the small clubs to the biggest venues. Who would have imagined this when Till was the drummer in "First Arsch ", keyboarder Flake Lorenz and guitarist Paul Landers played together in "Feeling B ", Oliver Riedel stroke the bass with the Inchtabokatables and drummer Christoph Schneider rocked the drum sticks for "Die Firma "?

Rammstein's history reads like a fairy tale from "Thousand and One Nights " coming true. Guitarist Richard Z. Kruspe flees the GDR from Hungary over Austria to West-Germany. In 1989 after the fall of the Berlin wall he goes back to his hometown Schwerin and joins the bands "Orgasm Death Gimmick " and "Das Auge Gottes ". But fate has in store for him to meet the former European junior champion and ex-GDR- representative swimmer Till Lindemann one day – an encounter with considerable effects. At that time Richard shares a flat with Oliver Riedel and Christoph Schneider. In 1994 the trio is already working on a mutual band project with great efforts but they can't find a songwriter and singer at first go. So they get Till Lindemann on board, and in this classic four person instrumentation they do a first demo. Paul Landers joins them only a bit later and now they only lack of someone playing the keyboard. They choose Flake Lorenz – who at first is not thrilled by their idea and their musical concept at all – but in the end gives in to join them. Now Rammstein's triumphal procession begins. The rest is history. Rammstein make their first record deal with Motor music and take off immediately from the beginning.

The new dvd/cd "Völkerball ", which will be on display in the music stores from 17 November on, now is the coronation of their present work. The dvd features 2.5 hours live recording from France, Japan, Great Britain and Russia. Additionally 75 minutes live recording of songs from several concerts on the audio cd. As a special bonus for the die-hard fans they will find on the special edition on top of that yet another dvd with the documentaries "Anakonda im Netz " and "Making of Reise, Reise ", in sum lasting 90 minutes. Next to detailed interviews with the band members Rammstein's manager Emanuel "Emu " Fialik will pipe up. He does not only hit the nail on the head when commenting "a Rammstein concert is like a choir event – there you have a similar phasing of emotions " but he can tell a lot concerning the phenomenon Rammstein. The band tells some intimate details – so you are introduced to the ritual of "Schützenschnaps " before every show which gives the band the feeling of "Now for it! ". The fan will have an insight into the ordinary and hard work of song-writing and studio work and is allowed to have a look at Richard's cooking skills. But we do not want to give away too much and instead let the protagonists speak for themselves:

About venues and their effects.

Richard Z. Kruspe:
It was the last show in Denmark or in Sweden. I came by flight from New York and headed directly for the hotel. It was raining the whole day. Virtual I went directly on the stage. At some point the curtain drops and you start to play. All of a sudden I saw this wonderful harbour which I hadn't recognised before at all. I just missed my cue. The rest of the band already had started to play and I thought "Shit! " – after 20 seconds I finally started to play.

Paul Landers:
In Stockholm they have this huge box ( "Stockholm Globen " – the author). We always had played in small clubs and saw that big hall glittering in the background. I couldn't believe it when our tour bus stopped in front of it. A lot of times we wonder why 12.000 Swedes or Finns want to see Rammstein.

About fans and their enthusiasm

Oliver Riedel:
It was very nice to play in Nimes because there we experienced the same hysteria you'll otherwise only have in Mexico or the south of Spain. Nowadays in France, when you drive to the town of the venue, you already can see many fans who go to the concert or, or those who wait for the concert, listening to the music so that the atmosphere already is fuelled before the beginning of the show.

Christoph Schneider:
Nimes in the south of France normally is a place for vacation where you find all these old buildings, a wonderful city centre and some tourists. Suddenly you could see thousands of black styled and clothed Rammstein fans there – that did not really match with the idyllic place.

Emanuel Fialik (manager):
There were many young fans travelling from all parts of France to Nimes. But I also have seen flags from Brazil, Croatia, Greece and Germany. It was quite clear that they all had pilgrimaged to the concert – best conditions for a great show.

Till Lindemann:
The location was quite outstanding. An arena for bullfights or gladiators, like an amphitheatre. It looks like being old as the hills and reminds of the coliseum in Rome – fantastic! This creates a good mood in a way. The acoustic is extreme there – because it remains in that cauldron. At least that's my impression. The people there were in a good mood – the French anyway. Normally I do not notice much from the things around me, ambiance and such things, but that was something special.

Paul Landers:
Nimes definitely was a highlight. Especially because the people are seated highly on the sides there and therefore are near to you. Suddenly you actually see the lot of people – in a way the impression of a compression.

About a Rammstein show and the effort

Christoph Schneider:
On the last tour we always have played in the biggest venues with a capacity of more than 10.000 people. Therefore you have to make a lot of efforts to ensure that everybody is able to see something; that pyro effects, light and music are sufficient, everything matches and fits and that the timing is right. For our shows every evening 100 people are working. A lot of times I watch then building everything up and afterwards removing it – only then you'll realise how many working places depend on such a two hours show.

Paul Landers:
It's like a circus. Like a little town being on the road. The tour manager is the mayor. You have lorry drivers, secretaries, rigger (who climb the roof of the hall to install the motors for the whole technique there), light and sound engineers, stage workers, band assistants for the building of the dressing rooms - all in all that is the whole staff.

About a Rammstein show and its staging

Flake Lorenz:
A lot of the first concerts of a tour are really cool, because you are not used to the course of motions and you do not know what will happen at which time. In a show you normally meet with another musician and go to a certain point together. But at the first shows you do not know that and then a lot of funny situations but also some embarrassing moments occur. You stand in a corner and nobody comes to fetch you. Or suddenly you are in the dark. In the beginning I drove with the Sedgeway. At some point the band said: "Can't you stop it? It looks as if you were mowing the lawn. That does not work at all! " I thought I was doing good – driving back and forth, but they said it was not bearable and I had to think of something different. So I asked: "What shall I do? " Response: " Drive backwards. " Then I drove backwards and turned around at the end, but that was giddy, too. The first concerts are the most exciting ones, when you have practised a bit everything becomes routine.

Till Lindemann:
Before the first show I have a scheme in my head. Normally we have some days for rehearsal before the tour starts. Then I run around with the ideas in my head and try to find out what will be possible and what not. In the five first concerts I will realise what really works. It helps me to create continuity. There is a lot of insecurity, because I do not know if I just will stand there or if I will move, but maybe the moving will infect the singing – because probably I will not be able to breathe properly and therefore can't sing the vocals out. Everything has to be taken into consideration. After five to ten concerts you have learned the steps and the choreography.

About a Rammstein show and its dangers

Flake Lorenz:
A lot of things on stage are unpleasant. That's like taking a cold shower. First you do not want to, but once you have done it you'll feel better. It is damned hot in the cauldron in "Mein Teil ". When I climb out of it I always burn my fingertips at the edge. If I am not careful enough Till will burn my face or hair with the flame thrower. I could slip or miss the handle while climbing out or fall down – a lot of things can happen. Sometimes the pyro technicians ignite the rockets to early and they hit my face. Such things already happened!

Till Lindemann:
I don't like being stared at. I do not seek eye contact with the first row. I always focus on the man at the mixer. Of course, if the opportunity arises I go for the gesturing dialogue with the audience. The rubber boat is a very good effect. It's fun and a bit of relaxing time for us. For a moment everybody is focussed on the boat and nobody looks at the stage. In former times Flake was the captain. The audience handed him over to the end of the hall often so that he fell off the boat and to the ground and gained some blue prints. When he came back he clamoured like a chicken! "

"Völkerball " shows in an extreme way that Rammsten is THE showcase of German bands, although one has to second Christoph Schneider when commenting the given maxim for the "Reise, Reise " production: "It's only music! "

© 2006 Sven Lohnert