6 Unorthodox Rammstein Deep Tracks that Showcase Their Range

One of the most memorable and important metal acts of the last quarter-century, Germany’s Rammstein have always occupied a unique space in the music world. Their larger-than-life songs are a collision of extreme dynamics, ominous vocals, mechanized rhythms, thundery guitars, and a frequently minimalist approach amplified to maximum effect. But there are times they dial things back for welcome contrast. They have also courted controversy from their lyrics, stage shows, and intense videos, many of which are intended to shock audiences with social and political messages—and sometimes just to be twisted.

Although they have been around for three decades now, Rammstein have only released eight studio albums. But the old adage about quality versus quantity applies here. Not only have they recorded many great songs, but their videos are like mini-movies with band members taking on a variety of different characters in many different scenarios. Here are six highly unusual Rammstein tracks reflect the different styles within their oeuvre.

“Los” from Reise, Reise (2004)

Given their penchant for crunchy electric guitars and deafening concerts, the concept of Rammstein going acoustic rarely comes up. What makes “Los” so intriguing is that it isn’t a ballad, and also shows their music doesn’t need amplification to be ominous. This is a simple track that repeats the same acoustic guitar motif over and over throughout most of the song, as frontman Till Lindemann’s ominous growls lurk in subdued fashion. The electric guitar work that does surface is restrained and bluesy, and the harmonica solo is a nice touch. Who knows if we’ll ever get a full-on acoustic Rammstein set, but this track makes the case that it would make for an interesting concert. At least they’ve played this one live.

“Stirb nicht vor mir” ft. Sharleen Spiteri from Rosenrot (2005)

Rammstein have done a number of different ballads throughout their career but this semi-electric one is unusual because it features Sharleen Spiteri, frontwoman for the Scottish rock band Texas. Lindemann sings in German while she sings in English. The title translates as “Don’t Die Before I Do,” and it’s a dark, disturbing song with a haunting quality that resonates within Rammstein’s repertoire.

He comes to me every night / No words are left to say / With his hands around my neck / I close my eyes and pass away / I don’t know who he is / In my dreams he does exist / His passion is a kiss / And I can not resist. 

While the band is certainly known for propulsive, pummeling music, they are also capable of a lot of elegant tracks like this one.

“Liese” from Liebe ist fur alle da (2009)

At the start of this mellower track, the tolling bell, upbeat whistling, and ominous bass conjure an image of Jack the Ripper casually strolling through London after midnight. It rides a line between dark and light tones in a disturbing tale of sexual assault that could also serve as a political metaphor. It’s also very uncharacteristic for Rammstein because there is literally no guitar to be found anywhere. The heavenly synths that waft in in the background give it a very different feeling. That’s the thing about Rammstein—they have a patented sound but often deviate from it, throwing curveballs one doesn’t expect, which keeps things intriguing.

“Haifisch” from Liebe ist fur alle da (2009)

This unusual number has more of a swing feel with dramatic synth brass being injected into the mix. While it’s aggressive, “Haifisch” doesn’t have the same thunderous quality as a lot of their other tracks but still packs a punch. This is the only song on this list that doesn’t qualify as a deep cut because the video—featuring a funeral in which the singer’s bandmates fight over the cause of his death, which we learn has been faked—has racked up over 100 million views on YouTube. “Haifisch” has got that classic Rammstein vibe, just slightly tweaked in a refreshing way. German dramatist Bertolt Brecht’s “Mack the Knife” was reportedly an influence on this song, the title of which translates as “Shark.”

“Diamant” from Rammstein (2019)

Yes, there’s another ballad on this list, and it’s a beautifully melancholy one. Featuring a vocal lamentation over placid acoustic guitar and subdued string accompaniment, “Diamant” might seem like an obvious one to put on this list. But it emphasizes how Rammstein can achieve power in both the most bombastic and delicate of sonic situations. Despite their reputation for provocativeness and sheer heaviness, there’s a lot more nuance and sophistication to their music that casual listeners probably do not know about. The translated lyrics find a man describing the beauty of a woman he loves to be both beguiling and cold like a diamond.

“Lugen” by Zeit (2022)

The extreme dynamics of Rammstein’s world collide on the penultimate track from their last album Zeit. The song starts with a cycling harp riff and Lindemann’s nearly whispered vocals, then explodes into sheer electric freneticism. When the song builds into greater cacophony, the harp gets completely buried and his singing becomes more aggravated and auto-tuned. It’s something one would never expect to hear on a Rammstein album, but considering the song is about the protagonist engaged in lies and deception, it makes perfect sense to use that technology to alter his voice. Ironically, it’s used with purpose here. It’s impressive to think that three decades into their career the group is still producing fertile, multilayered tracks like this one.

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