| | Rammstein Sehnsucht CD - Import Rammstein Discography of CDs
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"Du Hast" was nominated for the 1999 Grammy Award for Best Metal Performance.
First introduced to the public in the soundtrack to David Lynch's LOST HIGHWAY, Rammstein produces a unique brand of menacing Teutonic rock, reconciling forebears (and admitted influence) Kraftwerk with the sonic assault of Nine Inch Nails. SEHNSUCHT manages to come on strong enough to get the Germans to forget about David Hasselhoff--at least for a while.
As the eerie Arabic sample which introduces the opening title track dissolves into a crushing electric guitar attack, the listener descends into the dark sonic dungeon that is Rammstein. Vocalist Till Lindemann growls atop the group's twin guitar force, intoning the band's strangely romantic lyrics with snarling menace; the result is brutal drama of the highest order. From the exotic sonic experimentation of "Tier" to the tight crunch of "Buck Dich," SEHNSUCHT is a heavy, scary thrill ride, pausing for breath only with the comically soft "Klavier."
1997 album from the controversial German shock rock act,featuring the hit European singles 'Du Hast' and 'Engel'.11 tracks total. A Motor label release. 'Sehnsucht' means'Longing' in English. 'Rammstein' translates into 'BatteringRam' in English.
German edition.Rolling Stone (2/5/98, p.62) - 3.5 Stars (out of 5) - "...Their guitars grind like an overbearing ear-bleed machine....The Uberserious guttural delivery of...Till Lindemann lends the band a melodramatic sense of melody as muscular as it is mannered....a soundtrack less for World War II than for its desloate aftermath."
Kerrang (Magazine) (p.52) - "An electrifying sonic pummeling, this was the perfect vehicle to carry their unique vision to the masses." Sehnsucht Review
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Purchase Sehnsucht CD To buy, Click on price to add to cart | Rammstein Sehnsucht CD (1998)
Sehnsucht album
 $10.45    
"Du Hast" was nominated for the 1999 Grammy Award for Best Metal Performance.
First introduced to the public in the soundtrack to David Lynch's LOST HIGHWAY, Rammstein produces a unique brand of menacing Teutonic rock, reconciling forebears (and admitted influence) Kraftwerk with the sonic assault of Nine Inch Nails. SEHNSUCHT manages to come on strong enough to get the Germans to forget about David Hasselhoff--at least for a while.
As the eerie Arabic sample which introduces the opening title track dissolves into a crushing electric guitar attack, the listener descends ...
| | Rammstein Herzeleid CD (1996)
Sehnsucht CD music
$10.45 
Rammstein's first album was about what was to be expected from a bunch of Germans who happily grew up on everything from Skinny Puppy to Depeche Mode to Laibach and back again, not to mention plenty of skull-crushing metal straight up. Precisely brutal and often brilliantly arranged -- the band aren't per se inventive, but they bring everything together to make something astonishingly radio-friendly out of something that isn't necessarily -- Herzeleid in particular is the logical conclusion of KMFDM's self-referential electro-metal. The band freely invokes its own name throughout the way that group did in its songs -- the final tune is called "Rammstein," to top it all off -- and the riffs readily connect the dots between the older band's clipped guitar bursts and their even more compressed nu-metal equivalents. The swaggering sass and stomp of "Wollt Ihr das Bett in Flammen Sehen" makes for a near-perfect start, and from there the band merrily -- without a smile on its collective face -- has a great, loud-as-hell time. The downside is that the formula is in some ways so perfected they don't vary it much -- verses with roiling basses and stomping drums, cascading feedback apocalypse and sometimes squelchy samples adding textures and beats as needed. But there's more there than might be guessed -- the sternly beautiful choruses on "Der Meister," soothing keyboards suggesting a "we all march forward!" anthem for the modern day, the nods toward jungle/drum'n'bass on songs like "Asche zu ...
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With most contemporary country artists, you could guarantee that a song called "American Ride" would be a slice of jingoism, but Toby Keith isn't like most country singers. His "American Ride" casts a cynical eye at desperate housewives and wannabe pop stars, not celebrating down-home values but wondering where we're all headed on this American Ride at the end of the 2000s, a sentiment not all that far removed from some of Keith's previous social commentary, which makes it a mild surprise that it is the only song here that doesn't come from his own pen. As superb and striking as it is, it's not necessarily a good keystone for the rest of the record, which does have a few tougher numbers that pick up on the lean, mean vibe of 2008's THAT DON'T MAKE ME A BAD GUY -- "Every Dog Has Its Day," the sly "If I Had One," and the heavy blues stomp "Loaded" -- but spends more time on the softer side, even when he kicks up a bit of dust on the dancefloor on "You Can't Read My Mind" or does a funny, respectful salute to military life on "Ballad of Balad." In other words, the real touchstone for the rest of the record is "Tender as I Wanna Be," where he lets his guard down and lets the romance flow. This doesn't turn AMERICAN RIDE into a schizophrenic jumble, as Keith has always balanced these two extremes, but after spending a little bit more time swaggering than wooing, he's back to crooning and it's amiable and appealing.
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It's hard to not be impressed by the sheer sonic onslaught that is otherwise known as Nile. Except to the most hardened death metal fanatic, the genre has a way of sounding the same after a while, but Nile is one of the few exceptions -- able to put their own unmistakable fingerprints on this heavy duty style (Egyptian-influenced lyrics and musical bits, highly impressive instrumental dexterity, etc.). And on their sixth studio effort overall, 2009's Those Whom the Gods Detest, Nile has once again proven that they are a step ahead of the rest of the pack. Although some of the sonic depth has to be attributed to producer Neil Kernon (after all, he worked with such sticklers for audio perfection as Queensr˙che in the past), it's the true metallic fury that Nile create themselves that makes it all extremely impressive. Case in point, such delicious death metal ditties as "Kafir!," while on selections such as the title track and what's sure to be top metal song title of 2009, "Yezd Desert Ghul Ritual in the Abandoned Towers of Silence," Karl Sanders shows why he is considered by many to be the finest guitarist of the extreme metal genre (both songs incorporate Sanders' love of all things Middle Eastern). "Exotic" and "heavy metal" are not often terms used together, but in the case of Those Whom the Gods Detest, they go together ...
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In this rare and ground breaking performance, hugely popular heavy metal band Metallica is accompanied by the San Francisco Symphony Orchestra with Michael Kamen conducting. The pairing of the full and lush-sounding symphony with the guitar-driven virtuosity works well, giving way for a deeper, more subtle appreciation of Metallica's well-constructed, impressively written music. This music experiment will appeal to hard rock and classical music fans alike!
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Sehnsucht album
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