LINDEMANN is one of the craziest and most surprising– but at the same time, most logical – collaborations in the business, if you know the musical preferences of the main men: Rammstein’s Till Lindemann and Hypocrisy/PAIN Mastermind, Peter Tägtgren. Rock Hard has listened to the debut album, which is to be released later this spring, and had a conversation with the Swedish-German team about the genesis of the project.
Till, Peter – how did LINDEMANN come about?
Peter: We’d already known each other for quite some time when I asked Till if he wanted to provide some guest vocals on a Pain album.
Till: We came together over dinner in a Chinese restaurant in Stockholm and got completely sloshed on Jägermeister, until Peter threw up and we got chucked out of several bars. That had to be the night when we decided we wanted to do something together at some point.
In Rammstein, the music is composed first, and then come the lyrics. How did you go about it with Lindemann?
Peter: We overturned the rules of song writing completely. The way it happened was, Till spontaneously sang something into his iPhone and tapped a rhythm to it with his foot, that I then put into my computer to write the rest of the music around. For example, the song “Praise Abort(ion)” came about this way.
Till, is this a freer way to work than with a big band machinery such as Rammstein?
Till: We simply agreed on trying this out for fun. At first, it was only one song. I suggested that we should release it online, but Peter wanted to gather our compositions. When we had put together five songs, an EP, we got the idea to make a whole album. It was a step by step development.
Peter: We didn’t set out to start a Super group. We just wanted to record a couple of songs together.
Till: I wasn’t unhappy in Rammstein, nor did I want to get away from the band. I just grabbed the opportunity to make something entirely different with both hands, since we were planning a longer break. I’m not the kind who just sits at home doing nothing. So we had at it, but not with the intention of making a whole album. But it felt good and sounded good. So why not continue? My frequent flights to Stockholm became like a daily commute with the bus back and forth to work. Normally, I watch movies when I fly, or read some magazine or other, but this time, I used the time to prepare for studio work.
Peter, was everything recorded in your The Abyss Studio?
Why did you decide on English lyrics?
Peter: It was important to us that LINDEMANN clearly differed from our other bands. It should not be mistaken for Hypocrisy or Pain, and especially not Rammstein.
Till, are all the lyrics new or are there any old ideas used?
Till: All lyrics are new.
Are you going to perform live with LINDEMANN?
Till: We don’t know that yet. It all depends on people’s reactions and whether they want to see us live.
This is how the ten LINDEMANN songs sound:
‘Skills in Pills‘
The opening track, ‘Skills in Pills’, is an earworm that starts with an up-tempo, electronic, staccato beat accompanied by bombastic keyboards. The stylistic proximity to Peter Tägtgren’s band, PAIN, is unmistakable, but the music is also a little reminiscent of early Rammstein. The speed decreases a little in the epic chorus, as Till sings about the positive effects of pills: “All the rain is sun/all the grief is fun”. At the slowed down end with whispered vocals, the positive effects of the pills turn fatal: “A white one for my whatever pain/In the end I start to cry/So I take the first one again/I have a last one and hope to die”.
A somberly pumping, Industrial mid-tempo/up-beat rhythm ensues, that, surrounded by epic keyboards, immediately sticks. The topic is Ladyboys: “I burn for dicks and holes/He is my toyboy/My ladyboy”. The song is loosened up by the sinister, whispered mid-section and a laugh at the end.
The first single introduces itself with orchestral strings meeting heavy guitars and church organ sounds, both in the intro and throughout the song. The tempo is moderate and only speeds up at the chorus. Till enthuses about a Super-Size Love, whose armpits are like, “swampy little oceans”. The lyrical balancing act between revulsion and humor is perfect when “People laughing about your size/We can fuck them on your French fries/When I break open your king size bra/Your giant boobs are just wunderbar” blares out from the speakers.
‘Fish On‘ is a bit more blunt, both lyrically and musically, after the song starts with a techno beat. A pounding up-tempo rhythm, that becomes slower and more epic in the chorus, accompanies vocals that centers on the concept of fishing as a metaphor for sex. “It smells like fish/I take a sniff”. (Crazy… RH Red)
‘Children of the Sun’
‘Children of the Sun‘ is the least spectacular track on the record. Hard guitars, epic keyboard chords and a fast beat once again go hand in hand with an apocalyptic undertone.
‘Home Sweet Home‘
‘Home Sweet Home’ is the most touching of all the songs, and one of the ballads on the album. A bitter-sad musical breather awaits the listener, starting out with acoustic guitars and ending as softly as a lullaby. In between, Till sings with a calm voice about a growing cancer: “It’s caught inside you and it eats/it eats and grows inside you and it never goes”.
Moving on to the most upbeat track on the record. Horse neighs, pounding up-tempo rhythms and a hilarious chorus recounts a heroic-masculine Wild West romanticism story – “Big big horses and big dicks” – that turns into the grotesque – “I just ride my rocking chair/Hide my teeth in Tupperware” – and, finally, into a tongue-in-cheek gloat – “Cowboy, cowboy, what a prick/Drunken horse and shrunken dick”.
Besides ‘Fat’, the most humorous and, at the same time, the most offensive track on the album. Accompanied by a pushy, earworm up-beat, reminiscent of early Rammstein, Till prances through text lines such as “Let cry your pinky flower/Give me, give me Golden Shower” and “Let me sip again/Give me more champagne”, broken up by the chorus “Let it rain/Make me grunt/Let it rain from your pretty cunt”.
Another breathing pause, now in the form of a ballade-esque number that starts with a piano intro and rises into an epic mid-tempo drama in the chorus. The deadly natural romanticism reflects in text lines such as “Wild river/You stole my eyes/Never gave them back” and “Your face so dark/Feel clammy hair/Upon your flesh/Wet creatures everywhere”.
The humor in ‘Praise Abort(ion)‘ is debatable. In solemnly whispered verses and a catchy, hard mid-tempo chorus, Till reflects, from a parent’s point of view, on the pros of an abortion. In a dream sequence, sung by a children’s choir, the unwanted are reincarnated as beautiful butterflies.
Original Source: Rock Hard Magazine
By Conny Schiffbauer
Translation: Murray / Edited by Schnitz