Du riechst so gut" (German for You smell so good) was the first single Rammstein released, and the first from the album Herzeleid. It describes a predator seeking its victim and features themes of insanity and obsession in a stalker. The song might be inspired by the Novel Perfume by Patrick Süskind, one of Till Lindemann's favorite books.
This single was re-released in 1998 under the name Du riechst so gut '98 with a new video.
A music video was released for this single, depicting the band members shirtless in an all white environment. The video opens with a Doberman Pinscher walking across the screen, with repeated cuts throughout of the dog looking curiously at the camera along with flowers shown in the Herzeleid album cover and this single. Till Lindemann is portrayed in simple close-up shots, sternly singing the lyrics and at one point sporting a menacing pair of goggles. These are strikingly similar to Till's eyepieces shown on the Sehnsucht cover.
The song was first performed during the very first Rammstein show, on April 14th, 1994 in Leipzig, Germany. A fan favorite, it was used as the last song of the show during many of the Herzeleid tour concerts. During live concerts in the Sehnsucht tour, Till usually simulated firing rockets over the audience with a bow (actually propelled sitting on a string) and then the bow started to propel sparks in all directions as Till rotated it. During some concerts, he used it during different songs, like Laichzeit at the Bizarre Festival in 1997, or Du hast, during the Family Values tour in 1998. Guitarists Paul and Richard would conduct the audience during the extended solo. The song wasn't played at all during the whole 2001-2002 Mutter tour, but it returned to the setlists on their Reise, Reise tour. This time Richard and Paul wore jackets that shot flames/sparks from one of their sleeves, running from the shoulder down to their forearms; one would stand facing away from the audience, the other would stand facing the audience, and then the pyrotechnics would be activated simultaneously while the two performed the tapping hammer on solo
"Rammstein" is a song by the German Industrial metal band Rammstein. It is the eleventh and final track on their debut album Herzeleid and was the first song written by the band. It is essentially about the Ramstein airshow disaster. According to an interview with rhythm guitarist, Paul Landers the sound of the main riff of the song is made by him and lead guitarist, Richard Kruspe each playing a similar riff with different octaves (Richard plays the middle and Paul plays the lower).
In the Live aus Berlin performance of the song, lead vocalist Till Lindemann ascends from underneath the stage, via a trap door. He wears a burning coat, and special goggles from which a laser beam is projected, from one of the lenses. When they performed the song in the 2004-05 "Ahoi" tour, Till no longer wore the flaming jacket, opting instead for dual arm mounted flame throwers.
Sehnsucht is a German word that literally means "longing" or in a wider sense a kind of "intensely missing". However, Sehnsucht is almost impossible to translate adequately and describes a deep emotional state. The stage director and author Georg Tabori called Sehnsucht one of those quasi-mystical terms in German for which there is no satisfactory corresponding term in another language. It is this close relationship (encapsulated in one word) between ardent longing or yearning (das Sehnen) and addiction (die Sucht ) that lurks behind each longing, waiting to turn the feeling into a destructive, self-defeating force. Sehnsucht took on a particular meaning in the work of author C. S. Lewis.
Lewis denotes by Sehnsucht the "inconsolable longing" in the human heart for "we know not what." In the Afterword to the third edition of The Pilgrim's Regress he provides examples of what sparked this desire in him particularly. Lewis talks about
That unnameable something, desire for which pierces us like a rapier at the smell of bonfire, the sound of wild ducks flying overhead, the title of The Well at the World's End, the opening lines of "Kubla Khan", the morning cobwebs in late summer, or the noise of falling waves.
It is sometimes felt as a longing for a far off country, but not a particular earthly land which we can identify. Furthermore there is something in the experience which suggests this far off country is very familiar and indicative of what we might otherwise call "home". In this sense it is a type of nostalgia, in the original sense of that word. At other times it may seem as a longing for a someone or even a something. But the majority of people who experience it are not conscious of what or who the longed for object may be. Indeed, the longing is of such profundity and intensity that the subject may immediately be only aware of the emotion itself and not cognizant that there is a something longed for.
The concept of Sehnsucht in Lewis' writings
The key ingredient of the experience, as Lewis treats it, is that this longing—never fulfilled—is itself sweeter than the fulfillment of any other human desire. Another feature is that it is so deeply personal that it does not occur to the one feeling it that others would have similar experiences and so is rarely communicated verbally. For most people it is something which cannot be put into words. Indeed the present description of Sehnsucht is itself inadequate and is only suggestive of it. Yet, though difficult to define, Lewis maintained that this is a universal experience.
In The Weight of Glory Lewis says
In speaking of this desire for our own faroff country, which we find in ourselves even now, I feel a certain shyness. I am almost committing an indecency. I am trying to rip open the inconsolable secret in each one of you—the secret which hurts so much that you take your revenge on it by calling it names like Nostalgia and Romanticism and Adolescence; the secret also which pierces with such sweetness that when, in very intimate conversation, the mention of it becomes imminent, we grow awkward and affect to laugh at ourselves; the secret we cannot hide and cannot tell, though we desire to do both. We cannot tell it because it is a desire for something that has never actually appeared in our experience. We cannot hide it because our experience is constantly suggesting it, and we betray ourselves like lovers at the mention of a name. Our commonest expedient is to call it beauty and behave as if that had settled the matter. Wordsworth’s expedient was to identify it with certain moments in his own past. But all this is a cheat. If Wordsworth had gone back to those moments in the past, he would not have found the thing itself, but only the reminder of it; what he remembered would turn out to be itself a remembering. The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshippers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.
Another feature of Sehnsucht, as we see in the preceding quote, is that one may have the impression that in childhood we were much closer to a grasp of the object of the Sehnsucht-longing whereas now we have only the remembrance of it, or even merely the shadow of a remembrance. There is regret in that we no longer know what we long for, if we ever did. So, for instance, in "Comfortably Numb" by Pink Floyd we hear
When I was a child I caught a fleeting glimpse,
Out of the corner of my eye.
I turned to look but it was gone.
I cannot put my finger on it now.
The child is grown, the dream is gone.
I have become comfortably numb.
In The Problem of Pain, Lewis focuses again on the apparent uniqueness of the object of each person's longing.
You have stood before some landscape, which seems to embody what you have been looking for all your life; and then turned to the friend at your side who appears to be seeing what you saw—but at the first words a gulf yawns between you, and you realise that this landscape means something totally different to him, that he is pursuing an alien vision and cares nothing for the ineffable suggestion by which you are transported . . . All the things that have deeply possessed your soul have been but hints of it—tantalising glimpses, promises never quite fulfilled, echoes that died away just as they caught your ear. But if it should really become manifest—if there ever came an echo that did not die away but swelled into the sound itself—you would know it. Beyond all possibility of doubt you would say 'Here at last is the thing I was made for.' We cannot tell each other about it. It is the secret signature of each soul, the incommunicable and unappeasable want . . . which we shall still desire on our deathbeds . . . Your place in heaven will seem to be made for you and you alone, because you were made for it—made for it stitch by stitch as a glove is made for a hand.
Thus, any attempt by the artist to evoke Sehnsucht in the viewer is likely to fail. We each may have such a remembrance but that which does the reminding will differ too much from person to person. As the above quote illustrates, Lewis personally identified the true object of Sehnsucht-longing with God and Heaven. As such it is a starting point for the Argument from Desire. It played a central role in his own conversion from atheism to Christianity as is described in the autobiographical Surprised by Joy.
To the reader who grasps Lewis' meaning and identifies Sehnsucht in his own experience it may come as a surprise to find so little explicit discussion of the Sehnsucht experience in other writers (that is, other than those who are discussing Lewis), whether labeled as "Sehnsucht" or not. (One of the exceptions is Sigmund Freud, and of course the mystics of all religions.) On the rare occasions we do find it, the writers, especially poets, will more often convey the experience as personally significant but are seemingly unaware that it is a universal human experience; they describe their experience as if it were unique to them, with no hint that they expect their hearers to recognize similar feelings. For example, Pink Floyd above and the following passage from St. Thérèse de Lisieux's autobiography
Let me suppose that I had been born in a land of thick fogs, and had never seen the beauties of nature, or a single ray of sunshine, although I had heard of these wonders from my early youth, and knew that the country wherein I dwelt was not my real home—there was another land, unto which I should always look forward. ... From the time of my childhood I felt that one day I should be set free from this land of darkness. I believed it, not only because I had been told so by others, but my heart’s most secret and deepest longings assured me that there was in store for me another and more beautiful country—an abiding dwelling place. I was like Christopher Columbus, whose genius anticipated the discovery of the New World. And suddenly the mists about me have penetrated my very soul and have enveloped me so completely that I cannot even picture to myself this promised country … all has faded away.
110393 Rammstein is an asteroid (officially a minor planet) named after the German NDH-Metal band Rammstein. It was discovered by Jean-Claude Merlin.
(110393) Rammstein is in a 4.46-year elliptical orbit around the sun ranging in distance from 370.0 million km (at perihelion, closest point to the sun) to 440.7 million km (at aphelion, furthest point from the sun).
The previous perihelion passage occurred on 2006 Aug. 29.4 UT.
The orbit is inclined by 12.1 degrees to the ecliptic plane (the plane of the earth's orbit about the sun).
There is little information on the physical properties of (110393) Rammstein. Even its diameter is uncertain - a range of 3 to 6 km is probable.
A telescope is required to see this minor planet as its maximum brightness is some 1/48193 of the brightness of the faintest objects that can be seen with the unaided eye.
The Minor Planet Center (MPC) which is responsible for the designation of minor bodies in the solar system, officially announced the naming of the minor planet in its circulars of February 23, 2006.
NASA JPL Small-Body Database Browser on 110393 Rammstein
See the Asteroid
Further information about the observatory
Minor planet number 110393 has been named in honor of the German hard rock-metal group Rammstein.
The citation announcing the naming appeared on Minor Planet Circular 55989 (issued on 2006 Feb. 19), from which the following is extracted with permission:
(110393) Rammstein = 2001 TC8
Discovered 2001 Oct. 11 by J.-C. Merlin at Le Creusot.
The German hard rock-metal group Rammstein was established
in the former East Germany in 1994. It took its name from the
city of Ramstein after the tragic 1988 air show disaster.
The group gives spectacular live shows all over the world.
Read about how minor planets are named.
About (110393) Rammstein
(110393) Rammstein is in a 4.47-year elliptical orbit around the sun ranging in distance from 370.8 million km (at perihelion, closest point to the sun) to 440.6 million km (at aphelion, furthest point from the sun).
The next perihelion passage will occur on 2011 Feb. 12.9 UT.
The orbit is inclined by 12.1 degrees to the ecliptic plane (the plane of the earth's orbit about the sun).
There is little information on the physical properties of (110393) Rammstein. Even its diameter is uncertain--a range of 3 to 6 km is probable.
You will need a telescope to see this minor planet as its maximum brightness is some 1/48779 of the brightness of the faintest objects that can be seen with the unaided eye.
The diagram below show the orbit of (110393) Rammstein in relation to the major planets in the inner solar system.