Sampling the Record: Skills in Pills. Coming this May.
Skills in Pills
Already the intro hints hit-qualities – the drug-and-death wish topic supports the catchy chorus and the increasing rhythms, accompanying the Rammstein-reminiscent riffs into a psychotic Dubstep finale.
The very first Lindemann song, vaguely reminiscent of Pain’s “Shut Your Mouth“. The topic is unambiguous, and the distinctive “R”s are rolling. Vocally, it’s brilliant in the elongated passages, accompanied by the occasionally resounding, manically happy, “Jaaa”. At the end, a mad laughter echoes…
A church organ intro followed by a typical Rammstein riff with synthesizers supported by a violin. A majestic crusher follows, appropriate to the subject, with an opulent chorus. The German word, “Wunderbar”, is prominent, positively influencing the direction of the song.
High speed riffs hit towing metaphors and play on words such as, „Moby’s dick”. A driving, anthemic headbanger in the style of “Laichzeit”, only broken up by the yelled chorus, “Fish on!”.
Children of the Sun
The second Lindemann song, with a powerful opening riff and a lamenting, light vocal. Not an exceptionally explicit sex lyric, and rather pale, musically, too.
Home Sweet Home
A slow, ominous sounding ballad with orchestral arrangements and violins, the topic revolves around near-death experiences. Lindemann’s vocals are in focus and flow into a majestic chorus.
Horses meet Pain and the rhythmical emulation of the equestrian theme, referring to the cowboy who has all his ponies in the corral. A very catchy piece, that immediately invites to engage, but the refrain is also about the fear of failure.
At first, the focus is on the drums, then on the riffs. An engaging, industrial-based track with an explicit, vivid topic, revolving around the line, “Cunt – let it shower!”, even more clearly illustrated by the closing release of liquids…
Piano intro, then spoken vocals turn into singing, followed by an explosive chorus about the deadly dangers of seduction. A massive pop arrangement with an instrumental crescendo culminating into an appropriate headbanging style, almost choral in-between.
A hate declaration for life, family and children – the final breaking of taboos. Powerfully arranged with a furious chorus, contrasting “Lalalaa”-vocals and imposed children’s’ singing.
One hell of an album – musically as well as thematically. Lindemann hits with a lot of catchiness, brilliant (if not very surprising) music and the sumptuous play with the illicit. The fronts remain tough – Rammstein fans are going to rejoice, the champions of morality will have a lot to curse.