{"id":39513,"date":"2001-04-27T00:00:00","date_gmt":"2001-04-27T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/mutter\/"},"modified":"2001-04-27T00:00:00","modified_gmt":"2001-04-27T00:00:00","slug":"mutter","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/mutter\/","title":{"rendered":"Mutter"},"content":{"rendered":"<p>With drool practically trickling down my cheek, I embraced into<br \/>\nmy capitalist, greedy arms one of the most highly anticipated<br \/>\nalbums of the year so far: the new Rammstein album called<br \/>\n<i>Mutter<\/i> (Mother). Well, after a seemingly endless four-year<br \/>\nwait since the last studio album (which was also their breakthrough<br \/>\nin North America),<br \/>\n<i>Sehnsucht<\/i> in 1997,<br \/>\n<i>Mutter<\/i> delivers on all accounts and then some.<\/p>\n<p>\n<i>Sehnsucht<\/i> was a solid effort and contained numerous superb<br \/>\nsongs, but the album had a tendency to overstay its welcome a bit<br \/>\nbecause the last three or four songs did not particularly stand out<br \/>\nin any way. That is not the case with<br \/>\n<i>Mutter<\/i>. The flow of the album is excellent, starting with a<br \/>\nbombastic opening number, a grand epic in the middle, and a solemn,<br \/>\nmelancholy parting at the end, with oodles of teutonic explosive<br \/>\naggression and typically gloomy German self examination in<br \/>\nbetween.<\/p>\n<p>I just simply cannnot get enough of Rammstein&#8217;s music&#8230;it&#8217;s the<br \/>\nultimate marriage of crushingly violent, primal aggression and<br \/>\nwistful sentimental melodicism with it&#8217;s roots in the classical<br \/>\nGerman romantic era of the 19th century with its extremely<br \/>\nWagnerian overtones. It seems like such a paradox, but they pull it<br \/>\noff brilliantly; each song has an extremely catchy chorus without<br \/>\nsounding commercial at all, and these fantastic melodies are<br \/>\nembedded beneath an unbelievably powerful layer of thundering<br \/>\nrhythms and monstrous guitar riffs that pound you into submission,<br \/>\naccompanied by the ever present electronic sounds and<br \/>\nkeyboards.<\/p>\n<p>What makes<br \/>\n<i>Mutter<\/i> their finest hour to date is the fact that the band<br \/>\nsounds tighter and more confident in actual musicianship,<br \/>\ndevelopment of melodic ideas, arrangements, and lyric writing. What<br \/>\nsurprised me even more was that of the 11 tracks, none of them are<br \/>\nfiller as opposed to a good three or four last time around. Sure,<br \/>\nthere&#8217;s not a great deal of stylistic diversity or experimentation,<br \/>\nbut Rammstein have an unmistakably distinctive sound all their own<br \/>\nwhich they have perfected and refined on this release.<\/p>\n<p>The sheer blitzkrieg force of intensity cannot be ignored, and<br \/>\nthe songs do not become repetitive due to the presence of a<br \/>\nplethora of massively engaging hooks combined with a dramatic<br \/>\ndelivery that make each track unique and a joy to listen to. It<br \/>\nreminds me of the scene in<br \/>\n<i>A Clockwork Orange<\/i> where Alex beats the stuffing out a<br \/>\nhapless victim while cheerfully humming the theme from<br \/>\n<i>Singing In The Rain<\/i>.<\/p>\n<p>While the electonic element may be a tad more restrained and<br \/>\nsubtle this time around, this in no way weakens the overall work.<br \/>\nFrom the prominent orchestral riffs on the bombastic opener &#8220;Mein<br \/>\nHerz Brennt&#8221; (My Heart Burns), to the military marching sounds on<br \/>\n&#8220;Links 2-3-4&#8221; (Left 2-3-4), to the grandeur of &#8220;Mutter&#8221; (Mother),<br \/>\nto the anarchy of &#8220;Adios&#8221;, to the haunting Depeche Modian album<br \/>\nclosing ballad &#8220;Nebel&#8221; (Haze, or Fog), the album is guaranteed to<br \/>\nentertain on multiple levels.<\/p>\n<p>The lead vocals as usual are one of Rammstein&#8217;s most distinctive<br \/>\ntrademarks, raging from a gruff, robotic SS Officer type delivery<br \/>\none minute to gentle, soft, and sorrowful the next. Till Lindemann<br \/>\nreally shines throughout in this regard, showing us his<br \/>\nversatility. Seeing how I&#8217;ve begun the name dropping, it would be<br \/>\nunfair not to mention the other players: Dual lead guitars supplied<br \/>\nby Richard Kruspe and Paul Landers, bass by Oliver Riedel, drums by<br \/>\nChristoph Schneider, and keyboards\/electronic programming by Flake<br \/>\nLorenz.<\/p>\n<p>For me personally there is also the added bonus that I can<br \/>\nunderstand all the lyrics as well, and let me say that they range<br \/>\nfrom Grimm-like chilling to downright depressing most of the time.<br \/>\nUsually they deal with lost love, despair, eternal sorrow,<br \/>\nerroneous guilt, vengeance, atrocity, doomed romance, lonliness,<br \/>\nhate, perversion, and death&#8230;happy stuff eh! It&#8217;s all very<br \/>\ntypically German. There are many recurring mentions of flames,<br \/>\nflesh, blood, and mothers. Weird stuff, but the lyrics are written<br \/>\nmuch more expertly than on<br \/>\n<i>Sehnsucht<\/i>, which went a bit overboard in the perverted<br \/>\nsleaze department.<\/p>\n<p>In conclusion, I highly recommend this record to everyone,<br \/>\nespecially people who like their earlier output, but also anyone<br \/>\nwho has an appreciation for aggressive music, be it of the metal or<br \/>\nindustrial kind, and yes, even opera. Even though we are only four<br \/>\nmonths into the year, in my opinion<br \/>\n<i>Mutter<\/i> is already a frontrunner for best album of 2001.<\/p>\n","protected":false},"author":29,"featured_media":28118,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"artist":[6567],"rating":[5613],"class_list":["post-39513","review","type-review","status-publish","has-post-thumbnail","artist-rammstein","rating-rating-a-minus"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/39513","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=39513"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/39513\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/28118"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=39513"}],"wp:term":[{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=39513"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=39513"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}