Track Listing

Disc 1:

1. Rammlied
2. Ich Tu Dir Weh
3. Waidmanns Heil
4. Haifisch
5. Bueckstabue
6. Fruehling In Paris
7. Wiener Blut
8. Pussy
9. Liebe Ist Fuer Alle Da
10. Mehr
11. Roter Sand

Disc 2:

1. Fuehre Mich
2. Donaukinder
3. Halt
4. Roter Sand
5. Liese

Product Details

• Amazon Sales Rank: #242 in Music
• Released on: 2009-10-19
• Number of discs: 2

CD Description
Four years after their last studio album 'Rosenrot' comes this eagerly anticipated sixth full-length from the German industrial metallers, whose title translates as "Love Is ThereFor All". Produced by the band with their longterm collaborator Jacob Hellner, it is already being spoken about in hushed tones as their best work since 2001's 'Mutter'. It features some of the heaviest material they have ever recorded as well as lyrics in English for the first time, notably on thecontroversial single 'Pussy'.

Customer Reviews

Heart Of Darkness
"If it ain't broke don't try to fix it".
A good philosophy if you can make it work.

Since their debut album 'Herzelied' (1995), an album which retains the power to
strip paint from ceilings, Rammstein have proved that this is eminently possible.

With 'Liebe Ist Fur Alle Da', their sixth studio outing, the core elements of the
manifesto remain substantially unchanged. For those who love them, myself
included, this is of course a very good thing.
They have delivered another rock-solid piece of work here.

Their last album 'Rosenrot' (2005) has had a bit of an undeserved drubbing
from some of the band's devotees and detractors. Personally, I enjoyed it
every bit as much as their other recordings. It was the small differences,
largely evident in singer Mr Lindemann's increasingly musical vocal delivery,
which contributed yet another 'layer' to the band's emblematic sound.

The eleven songs in the new collection (plus a further five worthy tracks on the
"deluxe" edition) stand shoulder to shoulder with the best of their output.

The opening choral waves of 'Rammlied' provide a stunningly atmospheric
introduction to the controlled mayhem which follows. When those big
power-chords and the crash of Mr Schneider's drums kick in we are
catapulted into thrillingly familiar territory. An industrial-strength
composition deploying every trick in this fine ensemble's technical vocabulary.
Lindemann's dark Teutonic growl is deeper and more menacing than ever.

Things get better still with 'Ich Tu Dir Weh' . The eerily shifting opening synth
motif and subsequent thundering second subject segues seamlessly into
one of the most memorably tuneful choruses the band has produced.

The continued emergence of a more refined melodic sensibility has
enriched their work immeasurably. 'Roter Sand' is another fine example
of this tendency. The central vocal performance is beautifully executed.
The orchestral and choral arrangement (and incidental whistling) are a
stunningly successful inclusion. A second incarnation of the song
(the 'Corchester' version) on disc two is arguably even more impressive.
(Messrs Pfandler and Rempfler's yodeling adds yet another dimension!)

I shall refrain from delivering another track by track dissection.
Heck !! It's all good.

'Fuhre Mich', however, does deserve a special mention all its own.
The thoroughly menacing atmosphere of this thrillingly Stygian piece encapsulates
everything that makes Rammstein the darkly wonderful phenomenon they have become.

As for the artwork.... Da Vinci's 'Last Supper' is put through the mincer and
reconstructed as a series of deeply disturbing tableaux vivants worthy of
a modern-day Caravaggio. Not for the faint-hearted and all the better for it!

Grand Guignol doesn't get better than this.

Essential.

Return to form- some quick thoughts
It's a cliche, but it IS a return to form. After 2006's vastly disappointing Rosenrot (a collection of singles plus a ton of filler) it's nice to see Rammstein back on top, experimenting, taking risks, and most importantly, playing some seriously heavy metal. We're talking scary heavy, heavier than Herzelied heavy. "Weiner Blut", "Mehr" and "Rammleid" are among the hardest songs this band has ever produced.

Of course, it's not all New German Hardness: much as each of the band's last albums was a progression from the previous, so too is Liebe Ist Fur Alle Da. For the most part it works- but I've deducted a star for the passable but ultimately unnecessary "Haifisch" and "Fruhling In Paris", anti-Rammstein songs that feel a lot more out of place than I'd like. They're not bad songs, but they're not Rammstein songs either.

After the controversy and attention that lead single "Pussy" attracted, it's good to see the band hasn't churned out a parody, a self-mockery. Even that song is perfectly catchy pop metal, that emerges as a genuinely well crafted song after the dust of the notorious video has settled.

If you're familiar with Rammstein there'll be few surprises on here. The playing is still focused on crushing, buzzsaw riffs, Schneider's drumming as concise as ever. It is only Lindemann who has something new to offer here, his (greatly improved) singing voice juxtaposed with an often-employed indescribable shout effect that's just about the most frightening thing since the Third Reich.

Short version- the album's really good. It's not a grower by any means; it's appeal is instant, obvious. One or two detours detract from the flow, but it's still their best record since Mutter was released. Some of these songs are guaranteed concert highlights, and I for one can't wait for the tour.

Up there with the best, but is it tinged with sadness...?
Following favourable reactions to my "Filling your head again" review of Rosenrot (under a different log-on), I thought I'd share my thoughts on the latest offering from the mighty Germans. Here goes...

As ever with a Rammstein release, I was slightly nervous as I pressed the play button - I'm such a big fan of all their previous works that I'm almost waiting for them to disappoint me. As usual, they haven't. Unlike Rosenrot and Sehnsucht, which required a couple of full listen-throughs before my usual fever took hold, LIFAD got me instantly. For aficionados, there is nothing to be afraid of here.

In summary, LIFAD seems somehow reminiscent of both Sehnsucht and Mutter in its heavier, occasionally darker tones and of the best of Reise Reise across the more commercial offerings. As a whole, the album seems to be assembled to deliver alternately heavier and lighter tracks all the way through - blood boiling metal offset by more melodic, more accessible tunes and typical choral and orchestral Rammstein anthems in a sort of on/off/on/off structure. This works really well in pacing the whole album, making it coherent and complete.

There are a few stadium anthems here and I can't wait to see them putting these across on stage, along with Spring and Wo Bist Du from Rosenrot (I'm doing Munich in November and Manchester in February), but it's hard to recommend standout tracks as this has the feeling of a whole suite rather than a collection of tracks. For me, Pussy works really well as an album track - much better than as a single, Ich Tu Dir Weh stands up as an obvious crowd pleaser: rousing chorus and bright vocals, and Fruehling In Paris as another brilliant Rammstein oddity. This features a melodic Till Lindemann singing some French and a real "pop" feel driven by Schneider's break-beat drumming. It's gorgeous. Mehr features a background hook to rival Ich Will and the final track, Roter Sand, is anchored on a recurring whistled theme, recalling Sehnsucht's Engel.

This is where sadness comes rushing in, as Roter Sand is the final track and this really has a feeling of THE END. It features themes of loss and death, and I can't help feeling that this is it. On the bonus CD (you absolutely must stump up the extra few quid for the Digipack), there are three more brilliant tunes then an orchestral version of Roter Sand which really does have an air of the Requiem about it. I suspect that this is their last album.

Overall, LIFAD is outstanding. The wall-of-noise of Paul Landers' guitar was never better and the rhythm section drives the whole thing superbly; Till's vocals are stretched but assured; lead guitar and keyboards as controlling but measured as always. A thing of beauty and a joy forever. If this is the end, this is a perfect place to finish.

Farewell, my German friends, it's been a blast.