Here, as promised (or threatened, as the case may be) is my posting on
what some members of another (i.e., other than the 'popular') branch of
the music business thought of some of Rammstein's music, and what they
subsequently did with it. (I've concocted it for most part from
excerpts from Internet websites as it is now well past 3 a.m. and I
need my sleep. Also, 'I couldn't have put it better myself …' - in
spite of some awkward phrasing which arises, no doubt, from problems
with translation from an originally German text.)
"… innovation in music is still possible. … Friedrich Duerrenmatt, once
wrote … that art is mostly to be found where one would least expect.
Producer Sven Helbig and composer Torsten Rasch weren't seeking and yet
they found … the lyrics of [Rammstein singer] Till Lindemann. After a
long process of transformation they were left with a cycle of Lieder …
that … forms part of the tradition of Gustav Mahler's
"Kindertotenlieder", [based] on poems by Friedrich Rueckert, or Richard
Strauss' "Vier Letzen Liedern", inspired by Hermann Hesse. However,
while … highly reminiscent of German Romanticism and the later Viennese
classical romantics, the external framework remains very current and
explosive.
" … Sven Helbig firstly just read singer Till Lindemann lyrics without
knowing how they had been interpreted by the group. He was working with
extremely sensitive lines that played with the stench of human urine,
fears and emotions. He was immediately struck by a fragility and
spiritualization [sic] that fascinated, that evoked memories, released
deja-vu's, images and finally sound associations. … The composer
Torsten Rasch was the right person to do justice to these
reinterpretations … .
" … Rasch captures the lyrics with tenderness, enveloping them in the
full force of more than one hundred years of broadening tonal knowledge
…. Although Rasch restricted himself to the instrumentation of the
symphony orchestra the echo of the original melodies is present. This
leaves the listener to interpret whether it is the rhythmic flow of the
words that awakens associations with the original interpretation or the
original song melodies are simply being summoned forth in new,
unfamiliar garb.
"We are finally left with an unusual cycle of Lieder … that … polarises
and will be the cause of controversy. It will have its frenetic
supporters who recognise the apotheosis of a forgotten tonal narration
in this way of approaching contemporary lyrics …. It will mobilise its
opponents who … will reject out of hand a reinterpretation of lyrics
that were originally written by a rock group. … In the end, and
notwithstanding all the debate, 'Mein Herz Brennt' is simply beautiful.
…"
<end of excerpts>
Nun liebe Kinder gebt fein acht ich bin die Stimme aus dem Kissen ich hab euch etwas mitgebracht hab es aus meiner Brust gerissen
Mit diesem Herz hab ich die Macht die Augenlider zu erpressen ich singe bis der Tag erwacht ein heller Schein am Firmament Mein Herz brennt …
Now dear children pay close attention I am the voice from your pillow I've brought you something I've torn it out of my chest
With this heart I have the power to extort your eyelids I sing until the day awakes a bright appearance in the heavens My heart burns …
Chris Bruce anticipating nothing good from the sandman after what he's just been listening to, and therefore glad he has not 'carried the child into adulthood', in Kiel, Germany --
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