#Going solo [Lindemann]

[elliesthetics]

[anwiel13]

Well, all the fuss was about absolutely nothing.

Entre Dos Tierras Official Video

[astrellanoctis]

If you support they're music you support them and that's a fact? You can't be a Rammstien fan and hate Lindemann lol

This one has been sitting in my inbox since yesterday and I did not have the nerve to reply to it. Let's go I guess...

Everyone has different opinions on this topic and that's fine, that's why we are all different people. If you think so, good. I certainly do not, but I will explain.

For me, Lindemann as a person is not Rammstein, and not the music – I said that in a post yesterday already. If I listen to a song of Rammstein, I don't even think about any of the guys, may sound weird but in this moment, it is just the music. I hear his voice but I don't make the connection to "oh this is Lindemann". Of course I am aware of that, of course I know who wrote the lyrics, but I am just enjoying the music and there is no person involved in that moment. And the same goes for his solo stuff. I enjoy some songs a lot and I won't stop listening to them cause this is a piece of music, not Lindemann standing in my room.

And I surely could "hate" Lindemann and still love Rammstein and the music. I don't hate people that I don't know in general, I'm a little too old for that I guess. I disapprove of actions and behaviors, but if I only have a vague image of a person, an image I get presented in media or whatever, I can't possibly judge their whole being and life by that. For me, it's rather a kind of despise actually, disgust. But let me tell you, it has always been like that, this man never appealed to me in any way, but there was no specific action causing this. Also I still think that in old interviews he is highly relatable hating everything, it's not that I look at him and go "THIS MF". I actually enjoy listening to his opinions there.

Consensus, for me all three are separated from each other in a way. Lindemann ≠ Rammstein ≠ Rammstein's music. I don't hate Lindemann, but his actions.

Oh, and of course I am supporting them by listening to it and that's pretty obvious. Spotify will most likely pay them a lot for me listening to the live version of Wilder Wein on repeat. But that's a thing I REALLY don't care about.

[marimayscarlett]

Obviously, I'm just speculating, but taking from what Schneider said last year - I don't think the rest of the guys were ever jealous of Till's solo work. Why would they be? Especially after Emigrate. Richard and Till clearly need a bigger let out than Rammstein can provide, and if it doesn't interfere with Rammstein, then why not? But unlike Emigrate, Lindemann went on tour. Garnered negativity that reflected onto the band. And most importantly, unlike Richard, Till got further away from them. He didn't want to and couldn't spend more time with them as individuals and as a band member. He got a new friend group, new entourage, which integrated into Rammstein and put an even bigger wedge between them. Till even stopped flying with them! And that what might've caused resentment caused by fear. Is Till quitting Rammstein? Is he even still our friend?

And Richard had a fight with Zoran before the backstage bj video which btw was tasteless and lowkey offensive to the band and the crew. Mein Teil is a great video but they've made some masterpieces since then. None of which had to involve sado masochism veiling itself as "being misunderstood".

I've nothing against Till doing what he's doing, he has every right to it but I also believe that last years incident should've been a massive eye opener (not the fucking young women part. He made it very clear with his poem that he doesn't care what we think about that) but that if he wants Rammstein to continue, he cannot lead a double life. Richard managed to separate Rammstein-self and Emigrate-self whilst still maintaining both full time. Till completely failed that, clearly deeply hurting 5 other individuals in the process. It was easier for him to do what he wants and ice everyone out. It's better if they took a long, long break than ruin 30+ year relationship with silence.

As for Zoran. He's just bitter. If post Zoran Rammstein videos are Ali Express, then wtf does that make him? Because no one even knew of him before the band and certainly he's not making any headlines post band. His only saving grace was Till but even then, his Lindemann videos aren't even the best ones..

Hi and thank you for the time and effort you put into writing this out 👋

I will work my way through this message and will add some of my own thoughts to it - this will be subjectiv and not everyone has to agree with everything.

It is true that Till and Richard both needed an additional outlet for their creative processes - the difference is that Till treats his solo project like a normal band and likes to go on tour (Richard mentioned this in one interview once that touring is a vital part for Till's creative life), while Richard treats his more like a studio project. Going out, touring with a stage show like his, putting out videos in this very style which is seen as 'typical Till' by now I might say - all this can serve as a target for misunderstanding, resentment, problems in general.

I do sometimes wonder why he takes these risks (after last summer more than ever). I know he as an artist has his own visions and wants them to come to life, which is his right - but I sometimes ask myself if it's worth it. If it's worth it that others have to deal with the problems his work/behavious has caused. But then again: it's none of my business and he has the freedom to do as he pleases.

I used this ask as an impetus to read Schneider's statement again (something which still triggers me a bit and which i haven't done in over half a year), and Schneider writes this: "Till has distanced himself from us in recent years and created his own bubble. With his own people, his own parties, his own projects. That made me sad, definitely." While I never understood this as being criticism towards Till having his musical side project, I do see it as criticism on how he treats it and how he handles things around it - between the lines there is (at least from my point of view) definitely discontent and concern. So I do believe the band doesn't see anything wrong with having side projects (in Richard's case they were even happy and relieved about it), but maybe in the trend of side projects demanding too much attention or developping possible unpleasant characteristics/outgrowths.

One can only hope that the last year really served Till as a wake up call to overthink some structures which gained influence around him.

"It's better if they took a long, long break than ruin 30+ year relationship with silence." I'm honestly not sure about this and I don't know what good a break would do in this case - since seemingly nothing incriminating had happend, there's no reason for a break in this regard, and maybe, just maybe, it's good for the band to work together this year, in their anniversary year, to actually feel close to each other, to reminisce together, something in this regard.

Regarding Zoran: Like I said in the post I reblogged, I find it highly conceited of him to quite literally say that every thing that came after him music video-wise, every art work from another director is inferior to his work in its quality (hence the 'AliExpress' metaphor). If he really means it that way, it's quite laughable to be honest. In my opinion, he is resting too much on his laurels he garnered from 'Mein Teil' - which admittedly had an immense effect and gave us Frau Schneider, and from "saving" 'Mein Herz brennt', but to say that the music videos of 'Deutschland', 'Adieu' or 'Zeit' are below his standards is mind-boggling to me (if I understand his allusion correctly).

Zoran's Lindemann videos are not my taste, and saying he wanted to express lonliness and insatiableness with a porn-video seems hypocritical and sends out 'oh I'm an artist, of course nobody understands me correctly'-pick me vibes. I'm not surprised that a lot of people who respects their own work didn't want to work with someone anymore who made a project like 'Till the end'.

[notafraidofredyellowandblue]

Never-gonna-happen-Rammstein-tour-predictions

With various tour predictions going on, i always come up with stuff that's never going to happen anyway (am very bad at predictions), but since i feel like a poll... 😊

which would you most like to happen 😊

[mjrtaurus]

Okay, so I haven’t talked about the new Till Lindemann single and accompanied drama yet, so here we go.

Meine Welt is… it’s definitely a Till Lindemann song. The lyrics fit the melodrama and the mood of the man to a T. The music has the sweeping quality that one would expect of such things. All in all, I’d say it’s a solid 6/10. Very middle of the road for me. It might grow on me with time, as a lot of his music tends to. It’s just not vocally or musically ambitious as he and the studio can get, but not everything can be a banger. And that’s okay.

Be that as it may… I hate the music video, which I think a lot of people do. I’m gonna try and be a little more in depth with just the standard “AI Bad” argument (which it is, and I’ll go into that too) with this, and the choices that may or may not have gone into it, but again, it’s me and I like to overanalyze things, and there’s a lot of bias due to when in my life I came into Rammstein and Till’s solo project and the impact it’s had. Just be aware that my opinion is mine and not the end all be all. Just me sharing my thoughts, at the end of the day.

Meine Welt’s music video is mostly ai generated, which knee-jerk reaction from me is disappointment. I’m still disappointed, yes, but am willing to forgive if what I think is happening actually happened, which only time will tell if that’s the case.

The music video for Meine Welt is… frustrating, and I think it’s on purpose. Which isn’t great, but nuance to come.

A part of me is thinking that Meine Welt may be the Lügen of the solo project. I do know there was backlash with Rammstein using autotune on that piece, but the autotune is the defining factor. He’s telling you through the lyrics that he is a liar, and you can’t even trust his vocal skill because he’s so much of a liar.

I wonder if Till is seeing the vicious hatred against generative ai and experimenting with it because he may see it as being counterculture, if that makes sense? Which it isn’t for many reasons, but he is a sixty year old man who’s knowledge of it is probably surface level at best, especially when he’s surrounded by business-y types who like his bottom line because it’s in direct relation to their bottom line who would probably spin it however they needed to get him to do it.

Not to say that that would absolve him from using generative ai for the video, of course. I’m not going to “oh, poor baby got tricked into it uwu” this grown man. He made the choice to go ahead with it. He bears the responsibility.

As for the raw content and subject material of the video… I’m gonna be a little more forgiving than I see a lot of people being.

It ropes the whole sexual assault allegations (that have been dropped from lack of evidence) and the whole “Kill Till” movement into it because I would imagine hordes of people calling for your death because a person made false allegations against you is pretty fucking bad for your already spotty emotional wellbeing, and that this is Till Lindemann and he cut his teeth on saying the uncomfortable parts of reality that fuck with him out loud on a stage.

Do I feel like it’s beating a dead horse at this point? Yes I do. Does having to address my own trauma over and over and over again feel like beating a dead horse? Yes, it does. Shit that hurts you sticks with you longer than you want it to, and it sure as hell sticks with you longer than a lot of people are willing to put up with. Let the old man yell at the clouds for a bit. It might be a little annoying, but it’s how he’s figuring shit out.

Am I saying he’s a saint? Hell no. Am I saying shitty things didn’t happen? Also no, but I’m not gonna delude myself into saying that’s how I know things did happen, you feel me? I’m not a psychic, I can’t read minds or astral project myself into the moment as it happened. Neither can any of you. There’s nuance, even in this, and it needs to be considered.

As for the whole Mar-A-Lago thing… yeah, that shit is gross, but there’s a solid chance the stay there got booked long before Fuckface in Chief went full dictator mode. There’s also a thing to be said of looking in on a shitshow from the outside and not getting the full scope of it like those of us on the inside. We in the heartland states will see the ugliest hurricane ever tear through Dixie and be like “oh damn, that’s Really Fucking Bad. Anyway…”. And also the same business-y types that only care about their bottom line probably come into play here, too. But again, it was Till’s decision at the end of the day, and he is responsible for it.

In conclusion: Meine Welt- musically and lyrically- is pretty solid. Not his best, imo, but certainly not his worst. Music video wise, I have no issue with the subject matter itself, but the fact that a good portion of it is generative ai makes me dislike it on principle, which is so frustrating because I know I would love it if it was done with the blend of artistic medias the idea was due. Again, the choice of ai may have been on purpose to make a point like it did with Rammstein and Lügen, but that point falls flat when you consider that generative ai is inherently dangerous to the people that it scrapes its pool of reference images from, and to the environment that server upkeep tears through, whereas autotune is just a little bit of studio know-how that I think gets a worse rep than it deserves. If it was made on purpose as a point, then it was a point that was poorly researched and poorly made.

Only time will tell if Till learns this and that he can do better and if he’s willing to put in the effort needed to do so, but keeping the business company he does will make that difficult.

[herrlindemann]

Sonic Seducer, June 2015

The exotic blossoms of a band break: After Rammstein said goodbye to the collective scene after their furious final show at the Wacken Open Air in summer 2013, the individual group members are slowly but surely returning with solo projects. While guitarist Richard Kruspe kicked things off last fall with the release of the second long play from his all-star artist collective Emigrate, spring 2015 will also be dominated by the Berlin industrial metallers. While keyboardist Flake Lorenz is trying his hand at writing books, frontman Till Lindemann is also letting the sparks fly again in every way possible: On the debut album of his solo effort of the same name, the flame-retardant muscle man has enlisted the help of Hypocrisy/Pain mastermind Peter Tägtgren. Together we'll be firing on all cylinders for 'Skills In Pills' from June onwards - and all in English!

The good news at the very beginning: the all-clear can be given. Despite all the rumors and speculation, the founding of Lindemann does not mean the end of Rammstein, as Till solemnly explains in the preliminary discussion about his latest field of musical activity. "Peter and I have been planning this project for ages. We had to keep postponing it because of time constraints — either he was on tour or I was busy with Rammstein. For me, Lindemann means more of a vacation from Rammstein. 15 years together is a long time. During this time we lived almost exclusively for the band and neglected our private life a lot. Some band members have small children and we are aware that we need more time for our families and whatever else is going on these days. It was urgently necessary for some of us to take a longer break from Rammstein. A break during which you can collect yourself again and really relax without the next appointments being on your calendar."

Anyone who knows the New German Hardness pioneer and the Scandinavian death metal veteran knows: you won't rest for a single minute on the twelve tracks of 'Skills In Pills'. On the contrary. As the names Rammstein and Pain suggest, on their first album the Lindemann/Tägtgren duo created a darkly bombastic, subtly electro-fied hybrid monster that stomps through the metal forest with glowing eyes, broad shoulders and a dirty grin to make his way through the mainstream and underground regardless of the losses. A real man's record, the result of a German-Swedish friendship that has now lasted a good 15 years. A long shared history that, according to Tägtgren, "starts with bar fights and continues through vomiting in Chinese restaurants" to the present day. Sounds too weird for a PR stunt, as Lindemann confirms. "We met when Flake and I got into a fight in a small bar somewhere in the north of Sweden. Peter somehow got in the way. I previously only knew him from seeing metal clubs and bars in Stockholm, but had never spoken to him. Back then we hung out a lot with the guys from Clawfinger and our mixer at the time, Stefan Glaumann. A time when I was out every night and knew all the clubs. Peter and his brother really saved our asses in that fight and kept us out of a lot of trouble. He calmed the heated tempers and said to these guys: By the way, that's the singer from Rammstein, they're okay. Afterwards there was home-made beer for the whole house. Then we all crashed really badly together."

Instead of burning off their excess energy in trendy shops in Stockholm, LindGren now prefers to spend her time on 'Skills In Pills'. With instant neckbreakers like 'Ladyboy' and 'Golden Shower', the bizarre fetish metal smash 'Fat' and the polarizing family planning guide 'Praise Abort(ion'), the duo will be open-mouthed and perhaps one or two scandal headlines from June onwards in relevant tabloids. The new pieces are based on Till Lindemann's notorious, deep black humor, which was often misunderstood in Rammstein and in his two previously published volumes of poetry. In English form, all non-German-speaking regions now have the chance for the first time to immerse yourself in the eerie and beautiful world of thoughts of the R-rolling fifty-something. Brutal humor for everyone.

"It’s just part of my job. I've always tried to let a certain kind of humor shine through; even if sometimes it wasn't much fun to record the songs. I can't judge whether this is the light, carefree side of Till Lindemann. The biggest difference is definitely that the songs are in English - a completely new field of work that I'm working on today."

The album was created in Peter Tägtgren's semi-legendary The Abyss studio in the tiny village of Pärlby, around 200 kilometers northwest of Stockholm. Where over the last twenty years milestones have been recorded by mostly black metal formations such as Dimmu Borgir, Dark Funeral and of course Peter's numerous in-house projects, last summer they clubbed their way through their collection of acoustic pills in a relaxed mood. Relaxed feel-good atmosphere à la Lindemann. "In his studio you can literally throw a fishing rod into the water from the comfort of your own home. Peter did the editing of the songs and I fished during my breaks from recording. We approached this project without any great expectations or plans. We just wanted to do something together. Everything has developed step by step into what you can hear and see today. Initially we thought we'd record a few songs and put them online to see how people would react."

"We are very serious about music," concludes Peter Tägtgren. "We are extremely proud of what we have created together with this album. But at the moment the project is still in its infancy. You have to see how much the audience likes our work. If it goes down well out there, I could imagine playing concerts with Lindemann. But at the moment it is still too early to judge. We'll wait for the feedback first."

The Lindemann album ‘Skills In Pills’ will be released in June; The detailed interview with Till and Peter can be found in the next issue.

[waldschimmel]

Till’s new songs are *chef kiss*! His voice is better than ever and the music are a ream banger. I’m hooked and hyped for the album. And agree that the videos are genius, but Till is a genius even if he would deny it

He is one of the few singers whose voice just gets better with age and probably experience. I think he sounds absolutely incredible in Zeit – especially in Schwarz and Meine Tränen. Those songs are just awesome, but the way Till sings them make them a real experience to listen to. He really interprets the songs with his voice and doesn't "just sing".

It's taken me a long time to get into Lindemann (I didn't listen to them while they were still together, only started after they broke up). The snippets I heard weren't really doing it for me. Then, on a long run, I just made myself to listen to Skills in Pills and found that I really liked it and listened to not only this album, but to F&M, too. Both are so diverse and creative (I can't believe they did a rap song; it was so funny), but especially F&M. Now, I put a song on and am immediately hooked, same as with Rammstein. (My 8-year old son was hooked right from the start on every Lindemann song, by the way.)

I often listen to the radio in the car and discover new pop songs that I immediately like, and then I listen to them again and again. And then I get tired of them, and even if I listen in again after months or even a year, I am often not that into them anymore.

With Rammstein, and now also with Lindemann and Till's solo work, I am often not that impressed at first, then listen a couple more times and really start to appreciate each song. There is something different about it – I don't know what it is. I don't grow tired of the songs; they are a staple for me. They take time to get into, and then it's real love 😌

With Zunge, I was not that impressed at first, then suddenly I couldn't get the song out of my head and just absolutely love it now. I didn't like NSL, now I do like N and S very much 🙃 (His voice when he sings "und die kleinen" in Nass sounds so incredibly beautiful. There is something similar in Wo bist du ("als du mich geliebt hast"), just a second, where his voice opens up on the vowel, and I always love that so much.)

So when the rest of the album comes out, I'm not going to say anything, but listen a couple of times first, ha. (By the way, I think both the Zunge and the NSL video are just beautiful works of art.)

It would be interesting to see what the creative process is like with Till and Daniel Karelly or Sky Van Hoff. To be a fly on the wall. Since Till already has had some of the texts there as poems and now turned them into songs, I would love to see how the collaboration works with regard to putting music to it. We got some insight into the process with Peter and Till in interviews – I wonder if it works the same here?

[theworldsendandmythoughts]

Zunge (Album) - review 2023

Till Lindemann's first full album as a solo artist. Something I've barely kept up with and Marton was my saving grace for updating me on the developments of the album. It's the continuation of Ich Hasse Kinder and Till The End.

With Till seperating from the Lindemann group project with Peter Tagtgren, he went into a more electro metal direction with the music producer Sky Van Hoff. As well as a mellow techno song Till The End which is speculated to have been the cause for Till and Peter seperating. After Till's obsession with Russia and the successful rleease of Ich Hasse Kinder and Beloved Town, we fans were waiting for a full album.

When he released Zunge, I was immediately excited for his album release. The lyrics, instrumental and visuals is exactly what I wanted from Till. Something semi gore, sexually implying yet fresh and deep. I loved the red theme he went for here.

The release of Nass, Lecker and Schweiss was something else. First of all; the three music videos being connected in an 18 minute long video. The first of the visuals reminded me too much of TTE, which I wasnt fond off. In general I'm not too happy about the music videos. Though the songs really grew on me over the upcoming days. Schweiss has to be the most relatable song Till has ever made.

I was pleasantly surprised in regards to Sport Frei. Incredibly heavy with an unusal theme alongside unique lyrics. I had to get used to this song a lot more than the previous four, I still do to be quite honest. The video was not to my taste particularly but I see he has the pill influence still going.

Now for the album release, something I got a day early by my beloved insider connections. The songs on that album that I hadn't heard already, blew me away. The heaviness in these songs was something completely different from the previously released singles. I cant help but wonder if he saved the best for last. Tho we have two songs which are on the softer side, as well as on the Schlager. I see the influence my dear friend Sky Van Hoff has had on Till (he did produce some of the music on this album). The elements fit so well, it burts your train of thought and the eardrum.

[emocafe247]

What do you think about Vem da greš?

I'm not that familiar with Joker Out except a few songs, because most leave my memory after listening to them, so I had to google this one and indeed, I had 0 memory of ever listening to it (perhaps I never did 😂). As I said, their rock genre is rather out of my usual stuff I listen to, I need something faster.

So I googled the lyrics translation first, and I thought "great, not another love song, but it's kinda sad, so it passes the vibe I guess?"

Then I checked a video and the song is actually about friendship, isn't it? It's 8AM and my brain is not functional at this hour and I had to rewatch the ending (because my brain started to think about my fanfic suddenly), but it looks like it's a story of two friends who had a childhood dream to go to space together, but they eventually didn't? Ugh, I'd have to watch this video again, it's too early for this 😫. I only hope it isn't about romantic love and about friendship, because I'm so done with romantic love being everywhere. The space theme is pretty cool, though. I know another video with astronauts, but it's Till Lindemann's solo project and some people might not be ready to watch it 🤣 (if you still want to, here, but it's not as soft as Joker Out's vid) Anyway, the song is a bit too slow for my taste, I need something more dynamic to listen to (but that's just my personal preference, unless I'm in a specific emotional mood I can't listen to slower music ever, because I get impatient), the video looks interesting though.

But if I had to pick one Joker Out song I like the most it would be Demoni, not this one 😂

[endlich-allein]

DAY 30 • A SONG FROM A SIDE PROJECT

Of course I'm going to go for Till's solo project, I love what he's doing and there's so much good in it, although sometimes it could do with a bit more polish. I hesitated with the LINDEMANN project with songs I love like Steh Auf, Blut and Knebel. The F&M album is a banger from start to finish !

But today I'm going to talk about a song that has become like an anthem for me. I listen to it over and over again, I've got it on my Instagram profile, and I try to include it as much as I can in the playlists of the people I know. This song has imprisoned my heart. And it's all about the heart.

This song is 'Du Hast Kein Herz' from the album Zunge (2023)

With lyrics inspired by the poems Kein Herz and Wo ist dein Herz, published in In stillen Nächten, Du hast kein Herz is a powerful song that oscillates between accusation, despair and hope, while playing with images of violence and emotional loss.

The tone is dark, accusatory and melancholy. It oscillates between anger and sadness, reflecting a toxic relationship marked by suffering and misunderstanding.

From the very first line, the violence is highlighted ("Du quälst Tiere und auch mich" - "You torment animals and so do I"). The person described seems to take pleasure in the suffering of others. Secondly, the song suggests that hatred has drained the individual of all humanity ("Die Seele hat vom vielen Hassen / Deinen Körper längst verlassen" - "Your soul left your body a long time ago from hating"). The question arises throughout the text : is it a heartless birth or a loss due to the wounds of life ("Bist du ohne Herz geboren / Oder hast du es verloren?" - "Were you born without a heart or did you lose it?"). Are we born evil or do we become evil ? It is also about mental and emotional violence, with the image of the brain as a battlefield illustrating a permanent state of inner struggle and suffering ("Dein Hirn ein Schlachtfeld Tag und Nacht" - "Your brain is a battlefield day and night"). And finally, where I recognise Till's touch and personality is in the last verse: there's an emotional turnaround. The singer declares that he has a heart and is prepared to offer it to the person who doesn't, even if it means sacrificing his own ("Jeder hat ein Herz / Auch ich hab ein Herz / Doch du hast keins / So schenk ich dir meins" - "Everyone has a heart / I too have a heart / But you don't / So I give you mine").

Musically, it's very effective, the drums, like a beating heart, announcing the rhythm to follow. The arrangements are powerful, contrasting with Till's calm, almost disillusioned, even pleading voice.

I loooooove this song !

[askrockandfriends]

As the group play, they begin to attract more people to come watch them. Anzu, Reiji, Sayaka... Leon. Many of the musical students came to watch the improvised jam session, and were soon tapping along to the hard rock beat.

It wasn't always easy, but Rock managed to keep up with Ibuki's energy throughout the jam. Especially since Ibuki played like a heavy metal lead guitarist and finding the actual rhythm in all her shredding wasn't always the easiest thing to do. Luckily, she at least knew when to play solo and when to play as part of a group.

...Even if her idea of "play as part of a group" was play power chords as loud as her amps will go and shoot off the flamethrower attachment on her guitar every other beat like she was a genderbent Till Lindemann or something.

@dead-or-lie (for Kaede)

Jam session! Several of the musical students, like Rock and Ibuki, were already honing their craft in the music room in an improvised concert. Who else can join them?

[marimayscarlett]

I just someone ask about Emigrate and since I love them a lot I wanted to ask what are your top 10 songs of theirs?

(sorry if you answered this before lolol)

Hi, thank you for this message, that's so sweet of you to ask 🤍

I could make it easy for me and just throw the first two albums in here (they kind of feel like home to me, especially the first one) and call it a day, but I sat down and took my time to ponder my selection a bit 😌 Took me a bit to sort them into a top 10 list, but here we go:

I'm still alive: Vampire goth dad singing about the passage of time and overcoming seemingly depressive episodes is a fucking anthem for me, this song takes up about 65% of my brain capacity 🦇🤍

2. Wake up: This actually was my favourite song back when I discovered Emigrate and my alarm clock for almost my whole university time. Because yep, this wakes you up in 0.2 seconds, it's so powerful 👏

3. Happy times: Richard's and Margaux' voices are complimenting each other so good in this and I love the rythm of this song 🤍

4. Always on my mind: Till sings one (1) syllable and I start bawling, every damn time. And when Richard starts to sing, I'm this 🤏🏻 close to dissolve into tears completely. This song is very dangerous to the hydration level of my body.

5. This is what: The drums in this are insane and the guitar solo is so good 👌

6. Rainbow: This is a song which doesn't leave my brain as soon as I hear it. Gotta deal with it for 3-5 business days because it's so damn catchy 🤌🏻 Plus I really love the lyrics.

7. Hypothetical: Not going to comment anything here. Not a thing. The song speaks for itself I guess.

8. You can't get enough: So much feelings and emotions in this song, Richard's voice in it is so wonderful 🤍

9. New York City: 🎶NEW YORK CITY WILL NEVA SLEEP 🎶 This is imprinted in my brain since day one and I love it so much.

10. You're so beautiful: I can't describe the feeling I get when I listen to this song. Like a melancholic, sad vibe mixed with positivity and love. It's a wonderful song, chance that I burst into tears while listening to it is about 75% 👌🏻

I know this isn't a tag game but I have three mutuals of which I know they listen or listened a lot to Emigrate and I would love to see your top 10 Emigrate songs (of course only if you want to): @dandysnob @ms-nerd @gothtoast 😌

[notafraidofredyellowandblue]

Till is probably going to tour with his solo stuff during the Rammstein break, so we’ll at least get something Ramm adjacent during that time. Maybe we’ll get Richard doing a new Emigrate album as well.

Till's tour in 2024 is indeed already planned and announced afaik, as Till seems to love touring (as Richard mentioned in an interview and he would know) i could well see the Till Lindemann band doing a follow up tour in 2025 too, we'll know soon enough

Richard had indicated he was done with Emigrate, but as he recently started being active on Emigrate's IG account who knows.. 🌺

I'm sure they all have their own projects to pursue, i just hope that they all also have time to get together as Rammstein to work on all the stuff Paul announced 🥰

[tarotmoth]

75

Home Sweet Home by Lindemann

[herrlindemann]

Rock Hard - December 1997

Within two years from underground act to million seller. Rammstein wherever you look and zaps. Even the teen publications have now discovered "the boy band of staged horror" (quote: TAZ) for themselves. Rammstein answer readers' letters in Bravo. The increasing level of awareness and success, however, also call critics and moral guardians on the scene. Because the hard guitar riffs with rumbling vocals and ominous lyrics from the children's room make even the most understanding parents grow gray hair.

Till Lindemann's provocative enigmatic poetry certainly does not necessarily correspond to current "political correctness" and to everyone's taste. Nevertheless: It's only Rock'n'Roll. And for as long as rock 'n' roll has existed, the standard themes of sex, drugs and violence have held an undeniable fascination for generations of youngsters. So the concerned parents and the fire brigade dutifully wait in the cold in front of the sold-out Lichtenfels town hall.

Meanwhile, inside, the dear little ones try to fight their way between bikers and goths, while KMFDM struggles on stage. As an opener, it's doubly difficult to survive in front of a hit parade audience that unites teenagers and Rammstein fans from the very beginning. But the quintet around the American exile and band founder Sascha Konietzko doesn't make it easy to find access to pounding electronic music either. True to the motto "No pity for the majority", dull techno beats with synth gimmicks are used throughout. Like the most recent CD, the performance suffers from the guitarist's lack of assertiveness. The hole that opens up here shows once again the handicap of the Elektrolurche-Industrial faction in large halls. The matter remains cold and sterile, the beat doesn't get into your blood or dance.

The rumble of thunder and hail of bombs shake the hall. Curtain up for five metal machine people. The "Tillminator" joins them from the burning underground. “Spiel mit mir” is the motto of the evening; it could also mean “Sing mit mir”. The fans are hooked — every line is cheered on from the start. Compared to the tour last May, everything is one size bigger. No song can do without a show element, the pyromaniacs Rammstein do a great job. Something is constantly hissing, sparking, crackling and cracking. If not, spotlights, stage floor, keyboards or microphone stands have to take their toll. In addition to the apocalyptic facade, the six Berliners also show a certain amount of self-irony, for example when the three amigos with sombreros and traveling guitar intervene in the action, Till empties the contents of his plastic cock into Flake's pants or Richard pulls a real metal solo from the leather. Otherwise, the musical moments of surprise are limited. The show is in the foreground — not a bad price-to-smoking ratio for 35 marks. The atmosphere in the audience is excellent, but calls for encores can hardly be heard. Isn't that the case today, when a whole hall is enthusiastically asking for more? hit audience? Sated youth? It doesn't matter, Till is still rolled across the audience to the stage in a burning steel coat on a cart. But then the vermilion ends surprisingly quickly. Parents and the fire brigade can go home relaxed.