Rammstein is probably the most popular rock band that doesn’t sing in English. And yet, they are also one of the most misunderstood bands in the world. Not alone is the at times hilarious word play in their lyrics lost on people who don’t speak German, but their music is also often perceived as much more aggressive than it actually is. Sure, subtlety was never the band’s strongest feat – something which is even more evident in their massive live shows – but albums like ‘Reise, Reise’ should not be taken at face value. There is more to this record than one might first assume.

In a way, ‘Reise, Reise’ is a logical follow-up to the band’s definitive international breakthrough album ‘Mutter’, which saw the band improving their arrangements significantly. There is still very little complexity in Rammstein’s songwriting, as two or three riffs are the norm for the band, but the productions and orchestrations became notably more sophisticated on those records. In addition, Till Lindemann’s voice really came into its own on ‘Mutter’, and his operatic vocals in particular. These are featured prominently alongside his rawer performances on ‘Reise, Reise’. Put those two together and you end up with a brutally effective album.

Also not unlike ‘Mutter’ is the fact that Rammstein kicks off ‘Reise, Reise’ with a relatively adventurous track in the shape of its title track. The riffs are massive, the chorus larger than live and the nautical theme of the song is captured perfectly by the almost symphonic quality of the arrangement. The fact that I love how the accordion, an instrument I hate with every fiber of my being, is incorporated into the apotheosis says enough. ‘Morgenstern’ employs a similar sound with a particularly dramatic chorus and some delightfully aggressive start-stop riffing, while the brilliantly constructed and particularly intense ‘Keine Lust’ is probably my favorite single of the band to date.

That may just be why ‘Reise, Reise’ is my favorite Rammstein album. It is not radically different from earlier work, the highlights are just a tad better than on every album. Especially ‘Dalai Lama’, which is probably their most flawlessly crafted song to date. The modern interpretation of Goethe’s ‘Erlkönig’ is perfectly expressed by Lindemann’s vocal delivery and Christian ‘Flake’ Lorenz’ keyboards form a perfect melodic contrast with the palm muted precision of guitarists Richard Z. Kruspe and Paul Landers. ‘Amour’ and especially ‘Ohne Dich’ are the band’s first successful attempts at honest power ballads, which makes them the perfect follow-ups to the gruesome moodswings of the excellent ‘Stein Um Stein’.

Sure, ‘Reise, Reise’ is full of simple, metallic downtuned guitar riffs and Christoph Schneider’s at times drum computer-like rhythms never go overboard on tempo and virtuosity, but the music is very clevery and carefully crafted. That was always what lifted Rammstein above their followers in the Neue Deutsche Härte scene and other types of industrial rock music. They have always made their own rules as they went along. How else could you explain something like ‘Los’, which sounds as heavy as the average Rammstein song, only acoustically? ‘Reise, Reise’ is equal amounts recognizable and experimental, which is better than what most successful bands can hope for.

Recommended tracks: ‘Dalai Lama’, ‘Keine Lust’, ‘Morgenstern’, ‘Reise, Reise’