Based on latest discussions on this forum, and studiing copyright laws, it is necessary to state out new forum mandatory rules, effective immediately, so, here we are.

LINKS TO MUSIC & VIDEOS: what is legal/what is not.
NEW RULES in the forum state:

From now on in our forum users shal NOT POST TOPICS THAT containin the following :
• Requests for or links to MP3s, music videos, or other files of questionable legality
• Bootlegs

So, please do not POST A LINK TO music or videos which does not directly originate from an officially legal site.

An OFFICIALLY LEGAL SITE is: or, universal music, a legitimate music site like MTV or VIVA. The links must be direct and linked only to the approved site. Any links which have copied and transferred the music or videos from an official legal site to ANYWHERE else are NOT OFFICIAL.

• Do not ASK FOR A LINK to music or videos. If there is a legal site for either listening or viewing, xTERNAL will provide the information in the NEWS section of

WHAT YOU CAN DO in the forums: You can DISCUSS a new song or a new video.

WHAT YOU CANNOT DO in the forums: provide illegal links or ask for links, give directions of any kind as to where something might be found (examples: file-sharing, other fansites, etc.). Screen caps will be allowed (within reason) AFTER a video has been made available through an OFFICIAL LEGAL LINK. Fan remixes of songs will be allowed (within reason) after the song has been officially released.

The above restrictions are necessary not because we are being “damn babies” or “. The reason is simply that RAMMSTEIN-EUROPE has made the decision to not be a facilitator of illegal activities involving copyrighted material. The reason for that is also clear. Rammstein’s Management has shown aggressive behaviour in combating copyright infringement.

Anyone who violates the spirit of the aforementioned expansion/explanation of what the RULES mean here as applied to music and videos (and this also includes the "making of videos") will meet up with one of the following consequences:


If you have ANY questions about what may or may not be acceptable here, you can always PM a Moderator and ask first before posting something that might get you in trouble here.

•any links to (or other sharing sites of a similar nature)are generally not allowed.
While some videos like fan made items or spoof animations are allowed, we do not allow linking to youtube. Oftentimes there is/are illegal videos of Rammstein performances to the side of the linked videos. Actual Rammstein Videos which are very illegal to be hosted by that site - therefore we cannot allow links to youtube to be allowed.

So, links to youtube are now allowed - ONLY IF it is a fanmade video by you, and does not contain bootleg footage or footage of live performances or released performances. Stills from photos found on the net are OK. A montage is OK. Clips of released footage are NOT OK.

Please try to understand that sometimes while we may allow a certain individuals fanmade videos, and deny another persons it is usually because the content in it could get the forums in trouble.

Also if some individuals post their fanmade video and it turns out to be bootleg footage that they filmed themselves at a concert and consider that "fanmade" - then we will have to reverse the ruling on allowing fanmade videos PERIOD!

Here is an update on what is considered "fanmade".
Fanmade is fanmade. You did it yourself. Like cut and paste. You creatd everything yourself. No footage filmed by someone else no clips. Still images are OK.
For example:
If you go out and find 6 banana slugs in the yard, dress them up in LAB outfits, and put the skinniest one in a paper boat and play the music to SEEMANN on a kazoo. That is fanmade.

If you have a coverband and you do your own video or you have footage of YOUR band's performance. That is fanmade.

If you have images that you sketched of how you think the video for a song should have been and you put it to music - I think we can allow that.

Use your creativity.


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Till Lindemann for Die Welt

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  • Till Lindemann for Die Welt

    Original Source:

    English translation by Rammstein USA:

    Till Lindemann, the singer of Rammstein, published a volume of poetry. A conversation about poetry, nature as a sacred place and his life as the son of the East German writer Werner Lindemann.

    By Michael Pilz of Die Welt. Translation by SonneN

    Till Lindemann is sitting in the dome of a tower over Berlin. The tower was built by the architect Herrmann Henselmann sixty years ago at Frankfurter Tor as a power character of the GDR. Now in its tip there is a lounge. For twenty years, Lindemann sings and writes for Rammstein. Not any other German band is so successful worldwide. Lindemann also writes poems without rock music. In 2005 his first volume of poetry was published under the title “Knife”. “In silent nights” is the second, a collection of touching, amusing, and often desolate verses. Lindemann is reluctant to talk about Rammstein, more gladly about his poetry and its origin.

    The World: Should we talk about poetry?

    Till Lindemann: Not really. If you read poems, you can find something in it or not. I know almost no one who still reads poetry.

    The World: Don’t you?

    Lindemann : Nevertheless. Mostly old stuff. My Bible says “German Love poems.” A book series from the East. I have done a search on a Booklooker, and it came up only once . 82 copies I already own. My dream is to have a whole shelf of it. In the book, anything goes, from Eichendorff and Hölderlin.

    The World: One of your own poems is called “Father’s Day”, “Have your eyes in my face / I know you / I do not know you.” Speaking as the father or the son?

    Lindemann : I speak with my father.

    The World: Your father, Werner Lindemann, was a noted poet and writer in the GDR. In his book, “Mike Oldfield in the rocking chair” from 1988 it’s not about the music of Mike Oldfield, but about you as his son.

    Lindemann : I myself have had the book seven years ago, republished it, after I had a long good talk to persuade my mother. The second edition was published by a small publishing house in Rostock. We had a new picture taken for it’s cover, with me on railroad tracks.

    The World: In the first edition it was a lonely punk with a cat. Your father is worried about you in the book.

    Lindemann : It was in the aftermath of the training, my parents were separated, and I moved from Rostock to my father, drawn back to the land. I was 18, already had enough of parties, and wanted to leave behind me all the fuss of the city, start a new life in the country. With my father, I had renovated an attic for me, and he always would come up to my room and was bugging me because of my music. I then was listening to a lot of metal and electronic stuff.

    The World: Not Mike Oldfield?

    Lindemann : That too. But mostly I’ve listened to Motorhead, Deep Purple and other noise. Once he came in again grumbling about something. But then I was listening to Mike Oldfield, he sat down, and said: ‘That sounds interesting.’ For me, it was a quantum leap: My father sits in my room, listening to my music and finds it good too. Probably because of its melancholy. He sat in my rocking chair, which I had built myself; I was a carpenter at that time in a farm. I sat in the chair otherwise, always seduced by my music and smoked hand-rolled cigarettes.

    The World: Your father was not in agreement with your way of self-discovery.

    Lindemann : I believe, that is in the nature of fatherhood. After nine months I moved out with flying colors again.

    The World: What would it have been that your father, the national poet, wished for a son?

    Lindemann : His problem was in general: one should not be too late to have children. The distance to the problems of youth is otherwise too great. Because a 60-year-old can barely grasp why would you come home late at night as a 16-year-old; drink alcohol beyond measure, eat unhealthy and sleep until eleven. And why would you ruin the ears with loud music. My father was happy to have survived the shelling in the trenches. With a normal age gap of 20 years, fathers develop more leniency in the father-son conflict. One still remember how he was at same age as his son and can sleep easy. So I’ve done that then with my children.

    The World: Werner Lindemann’s poems were included into the school curriculum in the GDR. Was it because he was a representative of the system?

    Lindemann : At the time I have not thought about it. Or I have repressed it. He has written poems about Lenin, about the light in the Kremlin. But that was the time. Painters had painted socialist realism. Sculptors have carved workers. My father had a good life. He has lived in his home country as I do today. He was three or four weeks on a reading tour and visited the libraries and schools throughout the GDR, he knew every librarian and every teacher in the zone. Like I, he also had small tour operations. Once money were in the till again, he sat in his house, wrote poems and let it go.

    The World: He co-founded the artists’ colony Drispeth.

    Lindemann : Drispeth, Meteln, Zickhusen. There also lived Christa Wolff, Helga Schubert and Joachim Seyppel. Because they have sought refuge. I still live today in the close vicinity.

    The World: Your father has also kept poems of yours: “He cracks easily / Every nut / And that does not want / must”. Since you were nine. This is not so far away from Werner Lindemann’s children verses: “There is a tree / In it a hollow space / Therein resides a woodpecker / To me it is right.”

    Lindemann : Whether this is hereditary, I don’t know. He had really wanted in any case, that I had written in my riper youth. Then I would have been his flagship son. That I was writing back then, he was rather amused. Once, I was ten or eleven, I sat with him in the car and was annoyed by the eternal question of who I wanted to be. Actually, I wanted to be a deep-sea fisherman. Catch huge horseshoe crabs and bring to the GDR, photographing sharks in the catch. My father said it was a tough job. And I said, “Then I might still need to be a writer, by the way”. He was terribly upset. He felt offended. He realized how he is seen. But it’s just as I look at his profession now. One can truly make the side. The importance, with which many authors appraise their work, is truly frightening. They think they are the center of the world.

    The World: In ” Weißes Fleisch(White Meat)” in Rammstein you sing “My father was just like me.”

    Lindemann : No, no. It’s a sex offender sings his apology for his actions. It’s a role.

    The World: Werner Lindemann has died twenty years ago. Would he like the poems of his son?

    Lindemann : He would be “proud that I followed in his footsteps”. After all, with two books. But we would have probably gotten into each other hair. Because of his origins and his history certain words included into poems are not for him. Fuck and ass. Crass word interpretations. Or invented words, neologisms.

  • #2
    The World: As you, he liked ancient, forgotten words like Roggenmuhme.

    Lindemann : Legendary figure of a doll from the rye straw to save a harvest and the next seed from the crows.

    The World: In your poem “Childhood” you said: “The scab of early wounds / stays gladly stuck to the soul.” Does poetry should be personal per se?

    Lindemann : It depends on how much of himself one puts into it. I am always trying to let others say something and then realize that I mean myself. Like the cat that is chasing its tail.

    The World: Is that how Rammstein lyrics are exactly? You hide behind a character, the cannibal-butcher, and in the end yourself?

    Lindemann : On stage, I must indeed be. Since I play a role, I must put a lot of myself into it to act convincingly as in the theater. But I’m far from it myself.

    The World: Will you read your poetry in public?

    Lindemann : No. There is nothing worse and more boring than read aloud poems. I write nothing close to “Faust”. I also tend to transform events of this kind into a circus to divert attention from myself.

    The World: You were definitely a big fan of poetry declamations in school.

    Lindemann : All of this contributes to spoil the fun of poetry. Fontane still turns my stomach until today. Let them have the children recite Bushido.

    The World: In order to disenchant Bushido?

    Lindemann : No, just for fun. In Scandinavia and Russia Rammstein texts are being used in German class. Students can fluently recite “Mein Teil”, and, God willing, they even may have fun.

    The world: Rammstein have probably done more for the worldwide dissemination of German poetry as the Goethe Institute. French can even recite “Du Hast in unison without an accent.

    Lindemann : This really is slanted, and I still get goosebumps. Especially the French.

    The World: you live in the country. Why do not you actually write nature poetry?

    Lindemann : The question I have never asked myself. Maybe this is a sacred space that I don’t want to desecrate. The last unspoiled hideaway. Nature for me is something beautiful. Security and tranquility. Moreover, there is nothing for me to write about. I am interested rather in something different. The abysses of disgust, which make life not worth living. Why you cry. This reminds me of something. Nature’s peace. Contemplation. I can sit for hours alone somewhere out there and look at a tree. I’ve always liked to wonder in landscapes as an observer of birds, trees and shrubs. Certainly the need for rest has to do with my main job. I like to dig around all day on my farm, plant flowers in pots, make a board ran here and there or paint on old cemetery crosses.

    The World: What interests you about the human abysses?

    Lindemann : I can write about it. I can provoke with it. The more people get upset about it, the more that inspires me, even worse dense I would have preferred a red sticker on my G-Book, 18+. The dialectics of the index.

    The World: Your mother, Gitta Lindemann, is a cultural journalist. What does she think of your poetry?

    Lindemann : She is very critical and picks everything apart. But she is happy and proud that I have nevertheless followed my father. My life has happened between cultural programs on radio and some artists’ rounds with my father in the countryside or at my mother in Rostock. My mother runs even today, aged 74, a literary café in Schwerin. Very introspective but also very committed. She even asked me to read there.

    The World: You were athlete in swimming, you have learned carpentry. Was that also a revolt against the educated middle class parallel world in the GDR?

    Lindemann : I was just too bad in school. Of course, everyone would have been delighted if I had studied painting, literature and such stuff. When that became nothing, it should at least be arts and crafts. My parents hauled me to pottery. But then I have nevertheless got with tooth and nail to an apprenticeship as carpenter in residential coop. For that, it was enough. I stood for a year on an assembly line. Then I had my license as a skilled worker, went to the country and have been a wheelwright in the LPG. We have done cartwheels and shovel handles, by hand.

    The World: In the music of Rammstein and also in your poems lays a great rage.

    Lindemann : It’s not the anger. I’m just working on what has made ​​me unhappy. I don’t know what I should be angry with. Life brings simple certain mishaps with it. You can drink away your sadness or beat up someone. It helps me in twenty years, to sit down and write something. And as such densities are freed. Maybe it’s just the urge to show our parents: I can do that and even better. Although we have always done what our parents did not like, listened to Goth music or punk. However, our parents would have liked us in 18 years. Meanwhile Rammstein is so main-stream. Recently, at our concert in Wolfsburg, the VW board sat in front of us. But if I had played Rammstein to my mother twenty years ago and said that I would sometimes have success, they would have scrubbed.

    The World: Gottfried Benn suffered from the modern era. For you, there are poems against obsession with beauty and search for meaning.

    Lindemann : In “Hare Krishna” I put myself in the tradition of religious jokes. Over the whole nonsense of Yoga and detoxifying. That was too much for me at some point.

    The World: You are now fifty and are concerned about your age. For that you like to write about younger women. The boulevard will be pleased.

    Lindemann : I am not concerned about ageing. It just annoys me. In a mild form everyone have this. Sagging skin, dark circles, not everything works. I’m not alone.

    The world: Do you feel undervalued as a humorist?

    Lindemann : No, I’m quite happy that not everyone understands my jokes. It’s fun to be left out and not have to always play the necrophiliacs from the crypt.

    The World: ”t feels very, very good / If someone understands your art,” it says at the end.

    Lindemann : I am happy when it hurts. But I am also pleased, if someone reads a poem from me and he feels deeply understood.

    Translation by SonneN of Rammstein USA


    • #3
      ^Thank you so much for posting this Maya. I saw the interview yesterday and skimmed through it, but didn't get the whole meaning. So this was very welcome


      • #4
        Thank you, Maya. I've read it yesterday in German, but English makes me understand it more.