Sound — 9
Rammstein returns after only one year with another experimental album. Rosenrot follows in the footsteps of Reise, Reise, using different sound structures and more variation than their earlier efforts. As a whole, the album is a lot softer than their other work, even Reise, Reise. 01. Benzin - this song has a catchy tune during the intro and verses, and then explodes with full grinding guitars and the guttural repetition of "Benzin" by Till Lindemann, the singer. 02. Mann Gegen Mann - similar to Benzin, in that it starts with a relatively simple melody, this time provided by the drums and bass. The guitars join in for the verses, then really start going during another guttural chorus. 03. Rosenrot - very simple sound that works extremely well. The bass starts out with a short intro, and is joined simultaneously by the drums and vocals. This continues throughout the verses and the pre-chorus. The guitars only join in for the chorus. The vocals are definitely the focus of the song. 04. Spring - this begins with just the vocals, and builds up until it has a very heavy, intentional, hard quality, and is almost theatrical. 05. Wo Bist Du - the intro is either an oboe or a flute (I've heard people call it both) and is joined by the full group of instruments, but still retains a soft quality that is enforced by the almost crooning chorus of "Wo bist du?" The song also has an epic quality. 06. Stirb Nicht Vor Mir (Don't Die Before I Do) - this song was very unexpected from Rammstein. There is no distortion on the guitars, and has a major chunk of the vocals done by Sharleen Spiteri of Texas, which is on a completely different level than Till Lindemann's low voice. After a few listens, it becomes quite a beautiful song, and would definitely be a huge single, as it attracts the alternative rock and maybe even some pop fans. 07. Zerstoeren - this song is a nice little angry remedy for any shock that may have developed from listening to Stirb Nicht Vor Mir. This is a fast, hard, distorted song, and is one of the best on the album. It really has to be listened to to be appreciated. 08. Hilf Mir - a truly epic song, starts off early with all of the instruments, and has a string background to enhance its quality. The tone of the song remains the same throughout, but the pace changes for short periods of time, and while sometimes this can make a song sound uneven (Morgenstern on Reise, Reise), it works exceptionally well for this song. Another good idea was to have layered vocals at different paces during the chorus. 09. Te Quiero Puta! - this song is absolutely hilarious. It combines the traditional Rammstein sound with a mariachi band, and it is entirely in Spanish. Another song that needs to be heard to be fully appreciated. 10. Feuer Und Wasser - this is a relatively long song, and feels it. The chorus has an epic quality, but the buildup to it is way too long. 11. Ein Lied - a unexpectedly boring song. Very soft, with no percussion, and is essentially just soft singing which borders on whispering.
Lyrics — 10
The lyrics have lots of double meanings and metaphors, but they cannot be understood by non-german speakers. However, a benefit of not being able to understand the lyrics means that they meld in with the rest of the song, creating just another layer of music. Sometimes lyrics can be distracting or don't really fit the music, but this does not come into effect here. Till Lindemann has a very low voice, and it is complemented well by the female singers on Stirb Nicht Vor Mir and Te Quiero Puta!
Overall Impression — 8
The music is as good or better than their other albums, but I didn't enjoy it as much. It is a little too uneven, and there are a few songs that I skip occasionally, which didn't happen on their last two albums, Reise, Reise and Mutter. It is a good album to cross over to other fans who generally don't like the really hard metal that was on their earlier albums, and as I said before, the song Stirb Nicht Vor Mir could be a huge hit worldwide, and the single Rosenrot could do very well on rock stations.