- Liittynyt
- 2.1.2003
- Viestejä
- 1 082
Herzeleidistä pöllittyä tekstiä. Eli Rosenrotia kuvaillaan Sehnsuchtin isosiskoksi, mitä ikinä se sitten tarkoittaakan. Metal hammerissa oli kuvailtu biisejä ja tässä jonkun fanin englannin translaatio saksista. Bensiiniähän ei ole tässä kuvailtu, jokainen lienee se n jo kuullut. Jos ei, niin venäläiseltä mutter saitilta sen saa (osoite on tuossa, jos vähän päättelet). Itse odotan kovasti biisejä Tuhoaja, Rakastan sinua porttoseni ja Hyppää. Mutta sittenpähän se nähdään. Heil mein Till.
review of rosenrot in the german metal hammer (21.09.05). thorsten zahn (chief-editor) went to paris for the press-thingie, met the band and reviewed 9 songs. according to the article the release date of rosenrot is 28.10.05.
zerstören (05:34):
most brutal track on rosenrot. a muezzin opens the song and after one minute aggro-till steps in [i guess aggro is an allusion to aggro-berlin; a hip-hop/rap label. whatever that means] and nothing remains intact. everything gets crushed, picked to pieces, sawed, knocked down. maximum destruction, lyrically and musically. the song is a song to bang your head away, rapid and radical. in the end, when lindemann stands in front of the pile of shards, he calms down. very quietly he speaks a few poetic words and in the background you can hear a music box. weird.
te quiero puta (04:02):
rammstein start with a cool "hey amigos" and the dusty ride through the desert begins. trumpets + industrial; a funny/weird combination. till acts like a mexican bard, rejoices "vamos, vamos mi amore" and his female counterpart answers. during the song till's voice gets more and more massive, the trumpet players give everything, you can hear bottle jingles (sp). and in the end rammstein carry the joke/fun to extremes with a powerful "hoi, hoi, hoi" before the the song vanishes in the sundown, accompanied with the sound of pattering hooves.
spring' (04:51):
most touching/emotional story on rosenrot. is about a person who wants to get closer to heaven, but ends in hell instead. menacing guitars rear up, the songs stamps along until a piano lightens up the atmosphere. after that the songt takes a short run before jumping: the guitars roar and breath heavily. then rammstein reduce the speed and the instruments die away like waves/wavelike. in the end you can hear a droning/humming crowd. touching.
wo bist du? (04:21):
rammstein form a new genre: stadium-gothic. it starts with a flute, then well-structured drums and depeche mode-like keyboards set in and dominate. great gothic-rock. in a massive chorus till asks the momentous question and growls deeply, almost menacing "wo bist du?" and plays with lyrics such as "i love you, i love you not, i don't love you anymore". a song like a movie.
rosenrot (03:55):
is supposed to be a single. brothers grimm meet goethe. result is a "bang-waltz". 100% rammstein, no big surprises
feuer und wasser (05:23):
deep longing for a lady and burning passion define this song. fervid/hot-tempered metaphores like "the legs open like scissors, the flame shines/glows hot from the hiding-place [...]" are thrown in. accompanied with hypnotizing beats, lindemann reveals the depths of his voice (vocal cords).
after 2 minutes the song explodes like a volcano. huge riff-walls/mountains push forward, the track unfolds to a momentous thing/shape that falls apart in a heavy/slow and orchestral way in the end.
mann gegen mann (03:52):
the track proves that rammstein still know/like to provoke. it starts with drum'n'bass rolls and keyboard waves. then till gets in the lead and recites in gross pictures about the pleasure and pain of homosexual love.
above everything is enthroned a chorus that's made for eternity: "man against man, birds of a feather flock together", presented in a perfect marine-choir-like manner.
ein lied (03:44):
with this song rammstein take a bow for the fans. "we are born for the music, we are the servants of/for your ears, whenever you are sad, we play for you".
a calm, quiet track. acoustic guitars dominate, till speaks/sings in a slow and thoughtful manner. idyllic keyboards create a kill bill-like atmosphere (whatever that means). wicked/cool and touching at the same time.
review of rosenrot in the german metal hammer (21.09.05). thorsten zahn (chief-editor) went to paris for the press-thingie, met the band and reviewed 9 songs. according to the article the release date of rosenrot is 28.10.05.
zerstören (05:34):
most brutal track on rosenrot. a muezzin opens the song and after one minute aggro-till steps in [i guess aggro is an allusion to aggro-berlin; a hip-hop/rap label. whatever that means] and nothing remains intact. everything gets crushed, picked to pieces, sawed, knocked down. maximum destruction, lyrically and musically. the song is a song to bang your head away, rapid and radical. in the end, when lindemann stands in front of the pile of shards, he calms down. very quietly he speaks a few poetic words and in the background you can hear a music box. weird.
te quiero puta (04:02):
rammstein start with a cool "hey amigos" and the dusty ride through the desert begins. trumpets + industrial; a funny/weird combination. till acts like a mexican bard, rejoices "vamos, vamos mi amore" and his female counterpart answers. during the song till's voice gets more and more massive, the trumpet players give everything, you can hear bottle jingles (sp). and in the end rammstein carry the joke/fun to extremes with a powerful "hoi, hoi, hoi" before the the song vanishes in the sundown, accompanied with the sound of pattering hooves.
spring' (04:51):
most touching/emotional story on rosenrot. is about a person who wants to get closer to heaven, but ends in hell instead. menacing guitars rear up, the songs stamps along until a piano lightens up the atmosphere. after that the songt takes a short run before jumping: the guitars roar and breath heavily. then rammstein reduce the speed and the instruments die away like waves/wavelike. in the end you can hear a droning/humming crowd. touching.
wo bist du? (04:21):
rammstein form a new genre: stadium-gothic. it starts with a flute, then well-structured drums and depeche mode-like keyboards set in and dominate. great gothic-rock. in a massive chorus till asks the momentous question and growls deeply, almost menacing "wo bist du?" and plays with lyrics such as "i love you, i love you not, i don't love you anymore". a song like a movie.
rosenrot (03:55):
is supposed to be a single. brothers grimm meet goethe. result is a "bang-waltz". 100% rammstein, no big surprises
feuer und wasser (05:23):
deep longing for a lady and burning passion define this song. fervid/hot-tempered metaphores like "the legs open like scissors, the flame shines/glows hot from the hiding-place [...]" are thrown in. accompanied with hypnotizing beats, lindemann reveals the depths of his voice (vocal cords).
after 2 minutes the song explodes like a volcano. huge riff-walls/mountains push forward, the track unfolds to a momentous thing/shape that falls apart in a heavy/slow and orchestral way in the end.
mann gegen mann (03:52):
the track proves that rammstein still know/like to provoke. it starts with drum'n'bass rolls and keyboard waves. then till gets in the lead and recites in gross pictures about the pleasure and pain of homosexual love.
above everything is enthroned a chorus that's made for eternity: "man against man, birds of a feather flock together", presented in a perfect marine-choir-like manner.
ein lied (03:44):
with this song rammstein take a bow for the fans. "we are born for the music, we are the servants of/for your ears, whenever you are sad, we play for you".
a calm, quiet track. acoustic guitars dominate, till speaks/sings in a slow and thoughtful manner. idyllic keyboards create a kill bill-like atmosphere (whatever that means). wicked/cool and touching at the same time.
Tunnusta.
:fick_mich: