![]() ![]() Her appetites eventually get the best of her though, and she overdoses in the bathtub. "Sonne" plays out like a twisted fairy tale as the men mine the treasure to feed Snow White's increasing habit: she quickly graduates from sniffing the gold powder to injecting it. The song was originally meant to be Ukrainian boxer Vitali Klitschko's entrance music (and the lyrics point to as much), but in the context of this clip, the choral refrains that compare a woman to the sun can be transposed to refer to the faithful worship the small workers thrust upon their beloved. In this clip Rammstein transform themselves into soot-covered worker dwarves whose output goes to serve their overlord: a giant and gorgeous Snow White figure who periodically appears to gather her golden treasure and dole out corporeal punishment in the form of over-the-knee spankings for her pint-sized servants. A final shot sees the once-suffering minor players running from a burning home, happy to escape the torment inside. The scenes that follow are composed much like a demented nightmare - shape-shifting landscapes, caged children, clawed haunting figures - reaching peak chaos with Lindemann playing both a shirtless character eating his own heart, and the powerful, sad, suited gentleman standing firm amid a burning room. Sandman") may start off dark and slow with heavy-handed sadness, but the melancholy atmosphere quickly turns to paralyzing horror when the band members transform into demonic cellists whose every swelling orchestration becomes an exaggerated gesture meant to elicit unease. This ode to children's nightmares (the first line is a reference to German kids' bedtime show Sandmännchen or "Mr. With an emotional opening focused on Till Lindemann's ruggedly handsome face singing with a single tear streaming down his cheek, this video mimics the distraught timbre of the evocative track. The compelling clip toys with the notions of gender expression and sensuality and plays out like a love letter to the indulgent side of human sexuality in all its complex, frenzied and raunchiest forms. ![]() Rippling muscles and wandering hands add a lusty layer of unadulterated smut, forming a stunning feast of flesh and unbridled deviance.īy the video's finale, the band has been sucked into the writhing pile of men, with only Till standing firm at the center - like a hardened deity - as the other participants gaze longingly at his impressive figure. Rounding out the homoerotic imagery is an undulating orgiastic pile of fully nude beefcakes, coated in oil and wrestling with ardent passion. Rammstein issue a beautifully twisted ode to the benefits of, and hardships faced in, homosexuality for their "Mann Gegen Mann" video - in which the band appears almost completely naked (save for Lindemann's bizarre hair extensions/reverse mohawk and matching latex panties and boots combo) slathered head-to-toe with glistening lubricant. ![]() Heavy on the perverse and filthy BDSM-centric imagery, the video for "Mein Teil" (as well as the song itself) is inspired by the gruesome true-crime story of infamous German cannibal Armin Meiwes - who found a voluntary victim that allowed him to dismember and consume him over the course of several months, eventually leading to the man's death. "Mein Teil" features many crazy scenes, including singer Till Lindemann ripping the feathers from the wings of an angel pleasuring him (echoing details of Meiwes' crimes: the first appendage sacrificed during the infamous tale was the victim's penis) and guitarist Richard Kruspe's violent fight with his own doppelgänger.īut perhaps the most disturbing segments are of drummer Christoph Schneider cross-dressed at the mother of Meiwes, which culminates with Schneider's stern figure leading the other five men out of a subway station on dog leashes as they claw and bite at one another, crossing a busy street on their hands and knees in a public display of advanced kink and derangement. ![]()
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