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Hard and Heavy Jan2005

The big surprise of the last return from the summer vacation was Reise Reise, the latest album from Rammstein.
Result? An immediate success. To such a degree that the album aims for the top of the charts in a number of countries, including France. Upon the announcement of the tour, and knowing that it would be necessary for us to wait until February 2005 to see the group play in our land, we decided to do our report on the second date of the European tour, in Anvers on the 2 of last November, and in Prague, a month later. We have profited from that, for we spoke with Flake (keyboard) in Belgium, and with Christoph Schneider (drums), in the Czech Republic. In addition, we posed some questions to the man behind the group, practically the seventh member of Rammstein, producer Jacob Hellner, who has followed the career of the group since the beginning, as well as to Michael O'Connor, the person responsible for the lights and the pyrotechnic effects on the tour.

FLAKE – ANVERS 2-11-04

Q: You have given more than a hundred interviews to promote Reise Reise. Is there something that you want to say and that you have not been asked about before?
Flake: Not especially. Moreover, I find that it is very difficult to express myself during interviews. I say all that I have to say in the music. I participate equally in the songs, and the subjects which I wish to grapple with figure in them. All is in the music, and I find it debilitating to tell my life differently. It is almost impossible for me to express myself except through our songs. The worst, for me, is to explain the messages that we convey in our pieces. I think that they speak for themselves, that there is nothing to add. Each time someone asks me why we have written a song like "Amerika", I have the impression of returning to school: I don't know what to say anymore!

Q: There is an extract from a black box's recording of a crash landing in a "hidden track" before the first track of Reise Reise (at – 38 s.). Is it a real recording?
A: Ah... I thought that we had withdrawn it from the final version! It is indeed a real recording of a black box. That corresponds to the visual universe of the album and to the principal theme, travel.

Q: Was it easy to get such a recording?
A: I suppose... We didn't busy ourselves with it. We proposed the idea, and someone then took charge of digging the thing up. It did not seem to be very hard to find. At the start, we wanted to insert an extract from the band between each piece. But we quickly abandoned the idea, as it was too clumsy.

Q: What is the relationship between the title of the song "Dalai Lama" and the lyrics which were inspired by a poem of Goethe's...?
A: The title of that piece was found before the words were written. It relates principally to the music, to the oriental tones. When we finished writing the text, we wanted to change the name of the piece. We tried "Flugangst" (fear of flying) and "Air König" (a play on words with "Erl König"), but nothing from all that was appropriate, and we thus kept the original title.

Q: Are you going to play "Moskau" in Moscow? Because the Russian public might take it badly that you compare that city to a prostitute...
A: The matter of comparing a city to a woman is an ancient idea; it did not come from us. The Russians like us, and so I do not think that the song will pose a problem; on the contrary. If it contains a mild critique, it is that Moscow is a hard and aggressive city. It is also very corrupt. The people do not hesitate to put a police light on their car to escape from traffic congestion, whereas certain ambulances must wait... I think moreover that we will play this piece only in Moscow. We had performed it yesterday, on our premiere date, but we aren't satisfied.

Q: "Ohne Dich" is already the third single issued from Reise Reise, scarcely two months after the release of the album. Isn't that a little fast?
A: We have enough good tracks on this album to be able to release a single every two weeks (laughs)! It's not like with certain groups who make a record with only two good songs, the rest only being good to throw away. Next January, there is the new single that will be released. It will certainly be "Los" (It will in fact be "Keine Lust" in February – editor). We release them quickly because we intend to release our next album before the end of the year.

Q: Yesterday (November 1st 2004) you gave the first concert of your tour at Mannheim, Germany. How did it go off?
A: Not badly for things that turned out badly (laughs)! Happily, we had all agreed before playing to not be preoccupied with it after the show! And we kept our word: we passed an agreeable evening in spite of all the little snags: some musical parts were forgotten, the sound was inevitably not as good as envisaged, some lights were directed at the wrong place... Several times, certain people were in the dark at a time when there should have been a focus on them... Those kinds of things! But it's normal at the time of a premiere.

Q: How is your grasp of the new pieces?
A: That which is made well supports itself! We can't foresee the reaction of the people concerning the new elements of the show, which adds a little piquancy. It's not every day that we can get out of our routine: in two weeks, we will be totally accustomed to the new tracks, and the novelty will have passed. It's like the birth of a child: you are very happy to have your baby, but you are quickly fed up with getting yourself up in the night to feed it at the end of some days (laughs)!

Q: Are there certain songs which you grasp more easily onstage?
A: Of course. But that changes according to the moment. Last night, I was excited to such a degree that I didn't question myself. I think that I screwed everything up!

Q: One has the impression that the keyboards are less present on Reise Reise. Does that leave you more room onstage to do other things?
A: In fact, there is more than before! They are more discrete but omnipresent. I recorded even more, but we realized in sound mixing that a lot of the passages weren't necessary. I prefer that there are less of the keyboards and that they are used better. It seems to me that's the case on this album. I am for a clear and pure line. The less there is, the better it is.

Q: How are the orchestral parts performed onstage?
A: It's me who plays the samples or who reproduces the layers. But in a simplified manner: I only have ten fingers!

Q: Do you intend to change your set list in the course of time?
A: We are going to make quite a few changes on our first shows. In order to do that, we are going to modify the set list often. Towards the middle of the tour, it should be more or less fixed. But nothing prevents us from changing one or two songs an evening, depending on the places where we play. Thus, we are going to play "Moskau" in Moscow, and there are some countries which prefer this or that classic.

Q: You played all of Reise Reise, yesterday. Do you wish to make it like the Mutter tour during which you played most of the album?
A: Exactly. We prefer to play our new pieces rather than those which we know by heart and which we are finished using.

Q: For "Stripped" by Depeche Mode, do you hope to include another reprise in your set?
A: No, but we have dreamt of releasing an album with only remixes. Each of us would choose two tracks, and the others must accept.

Q: A certain tension reigned within group during the recording of Mutter. Did you find a solution for Reise Reise?
A: We resolved the problem by removing all obligations: we were no longer required to spend such hour to such hour in the studio. However, while we didn't have to be there anymore, we were all present at every practice, and this for more than a year.

Q: Rammstein is a group apart. Do you consciously seek to be constantly different?
A: You know, myself, my dream, is to turn up onstage in jeans and a T-shirt. But that is not what people expect from Rammstein. That starts force-feeding me all this make-up, this technology, these complicated stages, etc.

Q: You use an enormous amount of pyrotechnics. Are there some countries where the regulations stop you from giving the complete show?
A: In China and in Japan, they are very strict on that subject. We can't even take our materials in those countries! But that is not serious; Rammstein is still worth it even without fireworks! In the United States, it's not easy everywhere. Each state possesses its own regulations. For example, as there was a terrible fire during the 20s in Chicago, you have a firefighter who jumps on you as soon as you strike a match in the street (laughs)!

Q: Is there a country in which you have never played where you would like to play?
A: I would really love to go to mainland China. We already played in Hong Kong, but that is not really China...


CHRISTOPH SCHNEIDER
PRAGUE 4-12-04

Q: The single "Ohne Dich" that has just been released contains a remix produced by Laibach. What is your relationship with that group?
Christoph Schneider: We were very surprised by that version. It is truly excellent. We did not expect such a remix. It is however more a cover than a remix. There is a female voice, which was unexpected and surprising, in the good sense of the term. For me, Laibach is a major group, and that they stooped to do one of our pieces is an honor.

Q: There is all the same a big controversy about Laibach...
A: Yes, I know. Personally, I often wondered how they could go so far in provocation. The guys use the official symbols of the Third Reich, the Nazi symbols, etc. They play around tremendously with this and have a good time creating chaos. By questioning myself about their intentions, I arrived at the conclusion that they can afford this kind of thing because they are Slovenian. They have a different perspective on what occurred in Germany during the 30s and 40s. They have a different intellectual approach than those who lived the drama of Nazism. A German group would never have been able to adopt a similar attitude...unless they wanted to find themselves in prison (laughs)! We are very different from them. Rammstein has never had that approach, even if people often—wrongly—reproached us for certain things. We consider ourselves a rock group, not politicians. We have a bond with Laibach, but it's only at the sound level, it doesn't go any further. We never had the intention of provoking by using that kind of symbol.

Q: The songs "Ohne Dich" and "Los" are results from the Mutter sessions. Are there other pieces in Reise Reise that date from this time?
A: We had indeed recorded those two pieces for Mutter, but they didn't satisfy us. "Los" was initially composed in a heavy version very distant from the country spirit which we gave it on Reise Reise. In addition, the basic idea for "Moskau" was born during the creative process of Mutter. We had then given it a jungle rhythm. But as we didn't manage to find the words to stick to it, we laid it to the side. Until that is, we succeeded in giving it the Rammstein touch by revising it for Reise Reise.

Q: Returning to the tour. This makes one month that you've been on the road. How has it been so far?
A: All is well. We play in larger venues than the last time, and in all Europe. It's a great step ahead for us. I think that from now on we are a true European group. We are known in all the countries of the Old Continent. I did not expect such a development from the group. I thought that we had reached a peak with our previous album, Mutter. It's brilliant to see that more and more people are interested in us. After all, it wasn't won in advance: we sing in German, and nobody, outside our borders, understands a single word we say!

Q: Is there a date that has particularly marked you to this day?
A: To speak truly, it's always special to play in Spain or in Portugal. That proved itself again this time. The concerts that we gave in those countries were masterly. In the same line of thought, the times that we were in Saint Petersburg and in Moscow have remained in our memories for a long time. But, from now on, everywhere we play, there is a tremendous crowd and the public is fantastic. It's the first time that we've felt like a big rock band (laughs)!

Q: How do you perceive the new songs live?
A: They are very different to play. They have, so to speak, less catchy energy than our older titles had. We gave all the new pieces their chance by playing them at least one time live. But we decided to no longer play all of them, because the fans of Rammstein also want to hear our classics.

Q: Personally, which song do you most enjoy onstage?
A: I love to play "Dalai Lama", but it no longer is part of the set (laughs)!

Q: After having played "Moskau" on the first date, you put that song to the side before finally reinstating it. Is that because it is a difficult piece to play?
A: It is in fact a piece whose impact live is largely superior to that which we had expected. We had thought that the track was a little weak, too pop. But the public adore it, as do we! We have therefore put it back in our set. We played it in Moscow, and the reception was tremendous, as anticipated. All the journalists who we met over there were disappointed that we did not release it as a single...

Q: It's been awhile since you played "Stripped" live. You do not want to try another reprise?
A: Oh, I am not a big fan of covers. The originals of Depeche Mode are good enough for me. It's not as if it had made up an integral part of our repertoire. On the last tour, we had gotten in the habit of suggesting a remix ('un boeuf', which is an improvisation on an existing piece, but not the same word used in the rest of the article for remix, so if someone has a better explanation...) with our group for the first part, but this time, it isn't the case.

Q: There was a lot of talk about tensions within Rammstein. What is your method so that everything goes well on this tour?
A: As you could imagine, we each have our own room backstage! In actuality, we always try not to encroach on the territory of the others, and we allow a lot of room for the freedom of everyone. We do everything to be as comfortable as possible. That translates into a lot of days off and a minimum of constraints. Moreover, in the end, we like each other well; it's not really war between us!

Q: You have the chance for a break during all of January. Is that for taking a rest or for working?
A: It wasn't planned like that, in the beginning. We were supposed to go to Japan at that time, but we gave it up because the album is going to be released later, and we aren't as famous there as in Europe. It would have cost too much to go there and play in small venues, inevitably only partially filled, while importing all our staff and our materials. Finally, we are going to spend a peaceful month, with family, which is never bad! Ah, I'd forgotten, we are also going to use downtime for recording the video of our fourth single, "Keine Lust".

Q: In three days, you start the German tour. Does that mean something special for you?
A: Not necessarily... The German public isn't the most passionate (laughs)! It's been awhile since we played at home, and we will definitely see what that yields. What is interesting, in Germany, is that we can easily communicate with the public seeing as we speak the same language.

Q: There is an enormous amount of pyrotechnics and lights on the tour. Despite the expenses that this causes, do you manage to recoup all your costs, or even earn some money?
A: Not as much as we hoped for, but we manage to pay everyone. In our provisional budget, it was envisioned that we would earn a distinctly greater amount! But every set costs a lot, whether on materials or for salaries. Too bad. We don't want to lighten the costs; we want each concert from Rammstein to be exceptional. We shall make up for it on album sales (laughs)! I'm joking, but happily most of the concerts for this tour are complete! Seriously, we really wish to work on the stage design, to work on the new light-show... We are and desire to remain a spectacular group. The result is truly impressive, and I am pleased to be able to offer such a show to the people who come to see us.

Q: Your albums more and more take on an organic feel, and, at the Inverse, your shows more and more beyond measure...
A: It's true. Our albums sound the best live, human... Reise Reise is without doubt the album in which we transformed into a true rock group. But onstage, we have taken a totally opposite direction. The stage is gigantic; we are all far from one another... We feel a little like machines: we don't see one another; we are each in our own corner... I would prefer a greater intimacy between us as well as with the audience. At the beginning of the tour, we found it difficult to play on that stage. We were a little lost. But it's improving; we are now able to manage the space a little better.

Q: Flake revealed to us that his dream consists of playing in jeans and a T-shirt...
A: Yeah, and indeed, he only has to change the group; he will then be able to dress himself as he pleases... Rammstein is not a garage band. There are so many people around us who see to putting on a correct show every evening that we have to respect them by giving the best concert possible.

Q: In February, in France, is it possible that Apocalyptica will open for you...?
A: It is still under discussion. Nothing is in ink at the moment. I would really like it if that were the case, we particularly like that group. It would be perfect for us. It's not easy for us to find supporting groups. The fact is, for them, it quickly proves very expensive. The transport and accommodations on a long tour, those aren't donated. I only hope that it is going to be possible. They have an approach to music that suits us and we've known them well for a time.

Q: They also covered "Seemann" with Nina Hagen last year...
A: Quite. It's an atypical group. If they opened for us we could jam together on "Seemann", that would be excellent (laughs)!

Q: How much do you involve yourselves in the choice of supporting groups?
A: A 100%! We study all of the proposals and listen to all of the CDs that we receive in this perspective. Each time we try to find groups who fit with us. Then it's a question settled between the different managements, and it's often a story of large sums. If the labels are okay with giving up sufficient money to pay all the costs of touring for their protégés, it's a go.

Q: There are already several rumors concerning your future. One speaks of an album of covers...
A: That's not entirely it. We plan to release a new album very soon because we recorded too many pieces for Reise Reise. It will be a truly new album from Rammstein, but it may be that it contains some covers.

Q: Is it going to be called Reise Reise Part II?
A: Perhaps. Or Reise Weiter (Journey again)...

Q: Do you know when it will come out?
A: Yes, we have an idea of its release date, but nothing is definite. And as long as that's the case, I don't want to trouble people's spirits with dates that change. We will announce it the moment it comes.

Q: One other rumor: you are supposed to film the three concerts which you are going to give in the Berlin velodrome for a DVD...
A: We're thinking of there, in fact... But, again, nothing is certain at the moment. We had first of all thought to record the Paris show in February, but it's possible that we won't be able to use all our pyrotechnics.

Q: Why?
A: To play in Paris is very difficult. The municipality is very exacting in terms of security. We already experienced a lot of problems the last time we played at the Zénith. We couldn't use everything. Naturally, it's a risk to not be able to use all the planned pyro, and we're not going to record a DVD in those conditions. As of now, we intend to transfer our choice to Berlin, in fact. Or to a festival, later, in the spring.

Q: Is it thus probable that the show in Paris will be lightened?
A: Everything is not yet finalized, so there is still a chance that we could reach an agreement with the city of Paris. We have people who take care of that kind of concern for us.

Q: And for the other cities in France, what of them?
A: I don't think that there will be problems. Paris is known for its extreme regulations.

Q: Finally, have you heard any pieces from Richard Kruspe's new solo project, Emigrate?
A: No. It doesn't interest me much. Apparently, it's like Rammstein; I do not quite see the attraction. But it has the air of being important to him and of being something that he holds to heart...

Q: Then you do not mean to take up a solo project?
A: Not really. As long as Rammstein exists, I don't see any interest. This group means everything to me. I have no desire to throw myself into another project.

MICHAEL O'CONNOR
PYRO & LIGHT MANAGER

Michael O'Connor is a man greatly respected in his field. Responsible for the lights and especially for the pyrotechnics on the Reise Reise tour, we asked the Englishman to give us some of the secrets to making the Rammstein shows.

Q: How long have you worked with Rammstein?
Michael O'Connor: It's my first tour with them. Before, I had produced the last Oasis tour, and I have worked for a numerous years with Eric Clapton, Metallica and a bunch of other groups. Even with Pavarotti!

Q: One imagines that working Rammstein must be very different...
A: Indeed, Rammstein uses a lot of pyro! The people who buy the tickets for one of their concerts get their money's worth, that's certain! The music is excellent and the show is sensational, it's truly an occasion to spend a very good evening at.

Q: What specific problems are posed by the use of pyrotechnic effects?
A: The ashes can penetrate to the interior of the lights or in the mechanisms of the mobile surfaces. Luckily we put some filters on the lights. And during the concerts, I have to wear a mask because the dust released by the explosions quickly renders the atmosphere unbreathable.

Q: Such a show must require a lot of preparation, no?
A: Indeed. We received the elements progressively, and we had to make sure that they integrated perfectly with one another. We therefore tested all the structures and effects together for more than two weeks.

Q: Do you have some figures to give us?
A: There are more than 300 spots per rack, 65 Mack 2000, 80 explosives, a score of flame generators. The floor of the stage is a grate, and below there are numerous lights. Moreover, I know many groups who'd like to have above their heads as many watts as there underneath Rammstein's stage (laughs)! We transport with us our own electric generators because few venues are capable of providing us the necessary current. To transport everything, we need thirteen trucks: five for the lights, two for the generators, and the rest for the elements of the stage, the mobile panels and the sound. It's a gigantic tour; few artists need so many trucks!

JACOB HELLNER
PRODUCER

Jacob Hellner, previously known for his work with Clawfinger, became with the passing of years and albums the seventh member of Rammstein. He participates in the creative process of the group as much as any other member. For this reason, we judged it useful to you for him to share his vision of Rammstein.

Q: You have worked with Rammstein since the first album...
Jacob Hellner: Indeed. That makes nearly ten years day for day!

Q: How did it all begin between you?
A: I was busy with Clawfinger at the time and we were having a lot of success in Germany. So Rammstein were fans of Clawfinger and they were searching for a producer for their first album. We met one another, and there was a good vibe between us. Their record company contacted me in August 1994 and sent me the first demos of the group. I can tell you that it wasn't very impressive (laughs)! I hesitated to produce them, as I wasn't finding their music sufficiently convincing. I was attracted by the guitar parts, but that was all. They convinced me to come to see them in concert at Hambourg, in Germany, and there, I was overcome. It became obvious that I had to get involved with this group.

Q: How do you explain the longevity of your relationship? Generally, producers don't stick very long with one group...
A: I would say that we had a lot of trouble instituting a manner of working that fit us. It is rather difficult to work with them because each of them has a strong personality. The fact that everything actually rolls smoothly with us is a thing that they appreciate, and I think that they would have problems with everything returning to zero with another producer. Moreover, I don't see who could get around in their universe without immediately setting off running! They have established a relation of confidence with me, and as long as we succeed in functioning together, I don't think that they will want to change the methods of work and the producer.

Q: Was it difficult to find the sound of Rammstein?
A: Very hard. But I have developed a sort of specialty over the course of the years: it entertains me to work on the integration of the organic and electronic elements in the music. It is never simple finding the perfect equilibrium, for what this is differs greatly according to each group. Their conception of the guitar play is rather innovative. It is a delicate enough job to find the sound that they need. In the beginning, it was "very difficult", and today, it is just "difficult".

Q: Are you involved in the composition of the pieces?
A: Totally. I intervene during the process of writing some songs. It is necessary that the pieces function, it is as simple as that. We work together in the practice room, I tell them what could work and what might need to be reworked. My role, at that level, is to push them to give the best of themselves in every song. When we arrive in the studio, we theoretically know already what the tracks will sound like.

© 2005 Vinegar