List of the best Rammstein songs: photos, official music videos, track descriptions

The German rock band Rammstein has earned a reputation as epathetic musicians. They sing in their native language about violence and depravity, and their concerts are always filled with mind-blowing pyrotechnics. With influences from Ministry, KMFDM, Depeche Mode and Sprechstimme opera, Rammstein impresses with their variety of styles. In this article we collected The 10 best Rammstein songs that will leave no one indifferent. 

Rammstein

The first song by Rammstein is dedicated to the 1988 plane crash at Rammstein Air Force Base, which inspired the band to take a similar name for the band. The track became a highlight single Herzeleid" album from 1995 and begins with ambient electronica, helicopter sounds. The Rammstein composition was intriguing enough to attract the attention of David Lynch, who used it as the soundtrack to Lost Highway, making the German band known outside Europe for the first time.

Links 2-3-4

For a long time it was thought that the band Rammstein adhered to the neo-Nazi views and the single "Links 2-3-4" was a response to that criticism. Some people don't realise irony when they hear it. The march in boots and the sounds of the roaring crowd emphasising the rhythms are used to condemn Germany's ugly past, not to support it.

"Links 2-3-4" is from their third album "Mutter", and like much of their earlier work, colours their anti-fascist lyrics with visual indignation and dramatic contempt for the German past.

Mutter

Positioning themselves as a formidable leader of the Neue Deutsche Härte ("new German hardness") scene, Rammstein spread their flaming wings with the track "Mutter". The song begins with childlike sounds, delicate guitar arpeggios and melodically clear vocals that complement the heavy mid-tempo chorus. As if to emphasise their disinterest in being called industrial metal, guitarist Richard Kruspe plays a lighter melody reminiscent of Metallica's "The Unforgiven". In this song, Lindemann sings about a child born outside the womb who plans to kill his mother and commit suicide.

Rosenrot

The title track from Rammstein's 2005 album "Rosenrot" is characterised not by explosive fury like the other tracks, but by a wistful and piercing tone accompanied by a three-note bass line and melodic baritone vocals. At the end of the track, the band performs with a sharp ten-second metal riff, followed by an equally short ending played by the orchestra.

The performers were inspired by the Grimm Brothers' "Schneeweißchen und Rosenrot" ("Snow White and the Red Rose"), in which a bear kills an evil dwarf, turns into a prince, and then marries Snow White, who raises him and befriends him. One dwarf is killed, leaving six left.

Amerika

If not Rammstein's raison d'être, "Amerika" was at least a euphoric hit, recorded in 2003 during the band's most prolific period (which led to fourth full-length album "Reise, Reise" and much of the material for its follow-up "Rosenrot"). Like their more musically challenging 2019 opus "Deutschland," "America" is a bittersweet tribute to a nation that Rammstein is highly ambivalent about. Although they love American people and their culture, they are critical of rampant capitalism and the arrogance US. With lyrics written mostly in English, "Amerika" sounds triumphant. And yet it's bittersweet euphoria. Lindemann sings joyfully about Coca-Cola, Mickey Mouse and Vanderbrae, but he also addresses America's history with war and expresses his alienation by speaking in English:

"This is not a love song/I don't sing my mother tongue."

Which translates to:

"It's not a love song / I don't sing in my own language."

Unlike many European bands that write lyrics in English, Rammstein has no goal to please the masses against their principles.

Haifisch

There is a reason why the members of Rammstein, leaving the stage without instruments, bow like a Broadway cast. These guys love live theatre and together with the musical accompaniment they create a brilliant show every time. "Haifisch", the highlight of Rammstein's sixth album "Liebe ist für alle da" (2009), starts with dramatic buzzes and refers to Bertolt Brecht's opera "Three Penny" in the chorus. The song consists of a catchy, graceful rhythm of piano, synthesiser and rhythm that conjures up a images progressive art and culture that flourished during the Weimar Republic when Germany was great. 

Mein Herz Brennt

The opening track of Rammstein's third album "Mutter" starts with a sad guitar sound and low vocals. The tension builds as the drums and keys join the cello and violin. Then the song suddenly lights up with heavy and distorted guitar sounds, synthesiser parts that sound like something between Wagner and Led Zeppelin's "Kashmir". The track is quite hard, with lyrics and about children's nightmares, against the background of this work the song "Enter Sandman" performed by Metallica sounds like a soothing lullaby.

Engel

With its unique and hard guitar sound, the track "Engel" is one of Rammstein's heaviest works. The song "Engel" features delicate female vocals, an underlying flow sound effects, keyboard solos and crazy whistling. In the piece, Lindemann poetically describes angels and then states: 

"God knows I don't want to be an angel!"

Which translates to:

"God knows I don't want to be an angel!"

Deutschland

Starting with a jumpy, triplet-filled keyboard part that, along with the electric guitar, is reminiscent of Iron Maiden's style, the track "Deutschland" skilfully combines elements of metal and industrial dance music to create an epic song.

The band has released a beautifully shot, yet frank and horrifying video for the song, which emphasises lyrics about totalitarianism and violence. Musically, Rammstein weaves in emotional elements throughout the song, including female vocals from the Middle East, a piano part reminiscent of the ending of the song "Epic" by Faith No More and a mix of heavy guitars.

"Deutschland" is the opening track from their untitled seventh album, out in 2019. It shows Rammstein with a firm grasp on their past, a keen eye for the future and an understanding of what fans expect from them.

Du Hast

David Lynch certainly helped Rammstein capture the attention of American listeners with the "Lost Highway" soundtrack, but it was "Du Hast," a track from the second album "Sehnsucht," that won over Western audiences.

The song starts with rather innocent keys and electronic parts. But soon it turns into a battle metal riff. Lindemann's melodic vocals in the chorus added an element of pop and the keyboard parts added a sense of unease. Gloomy and energetic, "Du Hast" was proof of that. European music can appeal to listeners from the US, even if the lyrics are not in English. This opened a steel gate for Rammstein, which allowed the band to be unique and the best in its style.