Comment What distinguishes Rammstein from Helene Fischer

How the Rammstein case reminds us of the dark roots of rock music. And why it should come as no surprise when the abyss opens up for the German shock rockers.

Now that many people have already expressed their opinions on the Rammstein and Till Lindemann case and people on social media are even justifying why they are not saying anything about the issue - do we need any more comments here?

Probably not.

But at least I can say that I've experienced the band two or three times closer than many of those who are now judging and condemning them. The first time was before the release of their debut album, sometime in the summer of 1995, when record companies were still organizing so-called showcases for particularly promising newcomers.

As such, Rammstein, who were still completely unknown at the time, played a quasi-private show in full costume for a handful of journalists and promoters at the old Palais X-tra in Zurich. On stage, Till Lindemann wore a kind of chain mail and fitness gloves with sawed-off steel pipes on his fingers.

The whole thing was more reminiscent of the result of a pyromaniacs' handicraft course than a professional special effect. Nevertheless, Lindemann fired loud pyro fireworks from these gloves; just as if Rammstein had been bigger than Kiss back then. It was a surreal experience with the smell of danger and megalomania in the air. And the fire police were probably not on site either.

Radical megalomania

Lindemann's radicalism impressed me. And it still does today. It's one of the reasons why the band made it this far. In the years that followed, I met the band a few times for interviews. Once with Till Lindemann too.

In conversation, he came across as he is often described in private these days: polite, reserved, intelligent - but somehow also driven and tormented. Of course, the latter may have been due to the questions. Nevertheless, it was obvious that this man does not write his lyrical outpourings via ChatGPT.

Maximum effect

But Rammstein have always been a very calculating band. Maximum shocks for the greatest possible effect. Their best song "Links 2 3 4" is a perfect example: the band came under fire at the turn of the millennium for playing with Nazi symbolism.

In response, there was the smart refrain "My heart beats on the left" (where else - but you can interpret it politically), followed by a martial stomping rhythm and Lindemann's military "Left two, three, four, left two, three, four". Sounds that could also appear on the album of a German right-wing rock band.

The full provocation, not committing itself, serving all camps through this incomprehensibility - and congenially cultivating the excitement caused. This concept has brought the band to the top. Rammstein have long since become a mainstream act; the audience includes people who can also be seen at pop festivals. This distinguishes the Germans from genre colleagues such as Marylin Manson.

His similar sexual missteps were simply accepted as the actions of a crazy shock rocker and were of far less interest - at least in this country.

Borderline behavior

Lindemann and his band could certainly have done without the headlines of the last few days. Everyone in the music scene knew what was going on. Even 20 years ago, people close to the band were already saying that Lindemann's behavior with groupies was sometimes borderline.

But where is the limit? Led Zeppelin were revered as gods for their escapades. Mötley Crüe, who will soon be playing in Switzerland, were until recently celebrated for their misogynistic behavior and the corresponding bragging in their autobiography "The Dirt".

Clearly, the systematic efficiency with which Lindemann apparently recruited women is as questionable as it is unsexy. And if drugs, minors, non-consensual sex and/or violence really were involved, this is inexcusable and should have its legal consequences.

But demonization, hatred and agitation are out of place today. Furthermore, if a musician has to be orally pleasured under the stage during the concert - when he should actually be happy - this is not a form of rock and roll excess. It is simply addictive behavior.

Abysses are part of rock music

The current events surrounding Till Lindemann are a reminder that abysses seem to be part and parcel of show business, especially rock music. In times when even 12-year-olds can load any satanic rage or violence-glorifying rhymes onto their personal playlist with a click of the heart, this is sometimes forgotten.

However, flashing devil horns or funny drinking cups cannot hide the fact that the success of many stadium acts is accompanied by dark sides, and is often even made possible by them. Anyone who does not want to accept this or sees it differently is of course entitled to do so.

However, they should also consider whether they might prefer to sway along to Helene Fischer's songs about sunshine and angels.

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