They are a band of superlatives: Rammstein – the phenomenon from Eastern Berlin. Musically and commercially they are an institution. Since the formation of the band, the six members have become the cultural ambassadors for Germany all over the world. Rammstein toured the whole world – working themselves up from little clubs into the biggest arenas. Who would have thought that back at the time when singer Till Lindemann was still playing drums with his band First Arsch, keyboardist Christian "Flake" Lorenz rocked with guitar player Paul Landers in Feeling B, bassman Oliver Riedel picked the big strings in the Inchtabokatables and Rammstein-drummer Christoph Schneider hit the furs in Die Firma?

The history of Rammstein appears like a dream out of 1001 Nights came true. Guitarist Richard Z. Kruspe flees to western Germany via Hungary and Austria. In 1989, the year the Wall comes down, he returns to his hometown Schwerin and joins Orgasm Death Gimmick and Das Auge Gottes. But destiny wanted he would meet the ex-European youth swimming champion Till Lindemann one day – a meeting with considerable consequences. By that time Richard shares his flat with Oliver Riedel and Christoph Schneider. In 1994 the trio works hard on a shared band projec,t but they have trouble finding the right singer. Till Lindemann gets on board and in the classic quartet line-up they record their first demo. Paul Landers joins only shortly later, so all they need is a keyboardist in order to complete the sound. The choice is on Flake Lorenz, who initially was not convinced by the concept of the guys, but still he agrees to join them. And this is the beginning of Rammstein's triumphal march. At a band contest they win the first price: a professional studio recording session. The rest is history. Rammstein sign to Motor Music and from then on their career kicks off.

The crowning of their work so far is the latest DVD/CD, "Völkerball", which will be released on November 17th and into the stores all over the world. The discs feature two and a half hours of live recordings from France, Japan, England and Russia. Added is a bonus-CD with 75 minutes of material from various locations. As a special bonus for the fans, "Völkerball" is additionally being released as a Special Edition which furthermore includes another DVD with the documentations "Anakonda im Netz" and "Making Of ,Reise, Reise’"– clocking in at another 90 minutes. Here you get extensive interviews with the band members as well as Rammstein-manager Emanuel "Emu" Fialik, who has a lot to tell about the phenomenon Rammstein, and astonishes with his opinion that "a Rammstein show is like a choir event – there, too, you have a similar equalisation of emotions", in fact exactly hitting the bull's eye. The band chats about quite some insider details, e.g., you learn everything about the shared ritual of the "Schützenschnaps" before every show giving the band the "let's go" feeling. The fan gets an insight into the ordinary, hard song writing and studio works and can watch Richard's culinary arts. But let's not give away too many secrets and rather let the protagonists themselves tell a bit more about the incomparable last world tour.

About venues and their effects.

Richard Z. Kruspe: "It was the last show in Denmark or Sweden. I was flown in directly from New York and immediately went to the hotel. It had been raining all day. I went on stage more or less directly. At one point the curtain falls and you begin to play. Then I suddenly saw this beautiful harbour that I hadn't caught sight of before – and I forgot my part. The whole band had started to play and I thought shit! After 20 seconds I finally started to play!"

Paul Landers: "In Stockholm there is this huge venue (the Stockholm Globen, the author). We had always played in little clubs and had seen this big one glittering in the background. I could hardly believe it when our shuttle stopped in front of this incredible hall. We often wonder why suddenly 12.000 Swedes or Finns want to see Rammstein."

About fans and their enthusiasm.

Oliver Riedel: "In Nimes it was very beautiful to play because we had the same hysteria like otherwise only in Mexico or Southern Spain. Meanwhile it's the same in France: when you come into the city you see people who go to the venue or fans who wait and listen to music creating a great atmosphere already before the show."

Christoph Schneider: "Nimes in Southern France is a holiday region where you have all these old buildings, a beautiful centre and some tourists in between. Suddenly there were all these thousands of Rammstein fans, dressed in black and styled. It didn't quite fit the idyll."

Emanuel Fialik (manager): "There were many young people who came from all over France. But I also saw flags from Brazil, Croatian flags, and flags from Greece and Germany. It was clear that people from everywhere made a pilgrimage to the Rammstein show – the best prerequisite for a great show."

Till Lindemann: "This location was very unusual. A bullfight or gladiator arena, an amphitheater. It looks very old and reminds me of the Coliseum in Rome – simply fantastic! You get in a happy mood. The acoustic is very extreme because it remains in this kettle – at least that is how it appeared to me. The audience was fantastic, as the French audience always is. Normally I don't realise that many things happening around me - the ambience and so on - but this one was very special."

Paul Landers: "Nimes was really a highlight. Especially because the people sit so high and are so very close to you. Suddenly you see all these people – somehow that seems compressed."

About a Rammstein-show and its effort.

Christoph Schneider: "On our last tour we played the biggest venues everywhere with capacities of more than 10.000 people. That requests a huge effort to make clear that everybody can see it. That pyro-effects, lights and music don't appear too small and are perfectly balanced, that everything is brought into a good timing, that it is secured that every element gets its place and that everything works together. At our shows there are a 100 people working every night. I often watch the constructions and the teardown – then you realise how many jobs are linked to this two hour show."

Paul Landers: "It's like a circus. Like a little town moving around. The tour manager is the mayor. There are drivers, secretaries, riggers (climbing at the ceiling and install the motors for the technique), light technicians, sound technicians, the stage hands and the band assistance who design the wardrobes, that's about it."

About a Rammstein show and its production.

Flake Lorenz: "Many of the first shows of a new tour are cool because you don't know the procedures exactly yet, and don't quite know what happens when. Normally, during the show you meet somebody of the band and walk to a certain point. At the first shows nobody knows that yet, and then many funny and sometimes also embarrassing things happen. You stand in a corner for example and don't get picked up. Or you suddenly sit in the dark. In the beginning, I drove with the Sedgway. At some point, the band asked me to stop that: 'It looks as if you're mowing the lawn. We don't want that.' I thought I could do something else, drive back and forth but they said it would look ridiculous and I should come up with something else. I asked: what can I do? The answer: go backwards. So I went backwards and turned around but that was ridiculous, too. The first shows are the most thrilling ones. Once you have a bit more practice it becomes more routined."

Till Lindemann: "Before the first shows I always have some kind of scheme in my head. Then I wander around with my ideas and think if it would work that way - and realise in the first five shows what works and what does not. It helps me to bring in some continuity. Of course, there is a lot of uncertainty where I don't know do I stand here or will that harm the vocal performance if I move too much and I don't have enough breath and can't sing the vocals. You have to consider carefully. After five to ten shows you begin to have your perfect steps and the choreography."

About a Rammstein-show and its dangers.

Flake Lorenz: "Many things on stage are unpleasant. It's like having a cold shower. First you don't want it but once you've done it you feel better afterwards. The pot in "Mein Teil" is very hot. When I stand up I always burn my finger tips at the edge. If I don't watch out, Till shoots in my face with the flamethrower or my hairs would burn. I can slip and miss the grip when I get out and stumble – so many things can happen. Sometimes, the technicians ignite the rockets too early and they hit me in the face. This has all happened!"

Till Lindemann: "I don't like being watched. I try not to have any visual contact with the first row. Normally I watch the mixer. Sure, if the song asks for it I have this gesture rich dialogue with the fans. The rubber dinghy is a very good effect. That is fun and so it's some relaxation for us. For one moment, nobody takes care of the band on stage. Flake used to be the captain and the audience would hand him over to the last row, where he fell to the floor and got some bruises. When he came back he was nagging like a chicken!"

"Völkerball" makes clear in an extreme way that Rammstein is THE German reference band, even despite the fact and Christoph Schneider's motto of "Reise, Reise": "It's just music!"


Rammstein:
Till Lindemann – vocals
Paul Landers – guitar
Oliver Riedel – bass
Richard Z. Kruspe – guitar
Flake Lorenz - keyboard
Christoph Schneider - drums

Discographie
Herzeleid (1995)
Sehnsucht (1997)
Live aus Berlin [CD + DVD] (1999)
Mutter (2001)
Lichtspielhaus [DVD] (2003)
Reise, Reise (2004)
Rosenrot (2005)
Völkerball [DVD + CD] (2006)