Showing posts with label Du Hast. Show all posts
Showing posts with label Du Hast. Show all posts
2011-07-08
2011-06-06
2011-01-24
BDO Videos
Du Hast:
Mein Teil:
Copyright 2011 Emma Waxenegger. Contact me if you want to publish or reproduce these videos, and I will pass your message on to Emma, so you can get her permission.
Mein Teil:
Copyright 2011 Emma Waxenegger. Contact me if you want to publish or reproduce these videos, and I will pass your message on to Emma, so you can get her permission.
2010-08-17
Rock Band 3 + Rammstein = Du Hast, Really?
Yep, that's the word on the street. Du Hast. Insert rolled eyes and sigh of exasperation here. Rammstein are so much better than that song.
2009-06-29
LILT: Du Hast 3.0
2009-05-21
LILT: Du Hast 1.2
You
You have
You have me
You have me today
You have me today but I might not stay
Do you vow, till death do you part
To be faithful with all your heart
No
Do you vow, when her you do part
To love her when things get too hard
No
[lyrics][discuss]
I still like the bastardisation from 1.1, so I'm just working on that further. I feel no real imperative to go in the precise direction of Till's words. Just so long as the implications are similar I think it works.
You have
You have me
You have me today
You have me today but I might not stay
Do you vow, till death do you part
To be faithful with all your heart
No
Do you vow, when her you do part
To love her when things get too hard
No
[lyrics][discuss]
I still like the bastardisation from 1.1, so I'm just working on that further. I feel no real imperative to go in the precise direction of Till's words. Just so long as the implications are similar I think it works.
2009-05-04
More on That Interview...
There are a couple of things raised in the interview I linked to yesterday that I've been thinking more about. One of them dates the interview in the worst way, and that's the topic raised of Napster/MP3s. Till didn't like them. They seemed to anger him. Schneider was intrigued by the whole idea. He saw the potential in this alternative platform for music distribution. Obviously his views have born fruit since the interview was done eight years ago. I wonder how Till feels about MP3s now his work is distributed online legally and for money in that format.
Not long before the interview was filmed I was first getting into Rammstein, and without several illicit MP3s being sent to me and played by me illegally I wouldn't have been exposed to their music at all. I wouldn't have bought my first Rammstein CD back then, as I did. More recently, after years of not listening to Rammstein (I lost the original CD) I've now downloaded all of their other albums, listened to them for several weeks (illegally), and gone out and bought all of their CDs, including a second copy of the one I'd lost.
One would hope and, frankly, expect that in the past eight years Till has changed his opinion in respect to MP3s and online distribution. I imagine that thousands of their fans were, like me, brought into the fold by illegal distribution of Rammstein media. I'd be interested to hear his views on this now, as well as Schneider's.
Another subject raised in the interview is understanding of the music. The gist is that they leave their lyrics open to interpretation, so listeners can take from it what they will. I like this. It's the same with good paintings or sculpture; the beholder shouldn't be locked into a particular set of boundaries.
For a long time I wasn't terribly interested in the meaning behind Rammstein's work, enjoying the sound of the music and vocals for their nonsensical aesthetic, rather than for anything more profound. The lyrics are rhythmically and verbally attractive*, even sans comprehension, and that was a nice way to appreciate Rammstein for ages.
This time around I've taken more of an interest, and this interest has, in turn, lead to LILT. The LILT project has taken me beyond the mere appreciation of the music though. I've come out the other side and am trying to create something that mirrors the original German words, so this openness is no longer something I enjoy. I'm deliberately trying to convey what Till's intended meaning was, irrespective of what anyone else takes from it, and I'm included in that 'anyone else'. What I take from Till's work is really not the point. I guess this is why my wee tantrum last month was such an important point for me. It liberated me from the feeling that I might get it wrong.
I got it wrong when I read the transcript for Zerstören, and without knowing what Rammstein had declared with regard to the meaning took it to be about a vandal. In my ignorance about German I got Du Hast wrong originally as well. I thought it was a song about committment and dedication to a relationship. It is apparently quite the reverse.
Now I'm working purely from the pictures Till draws with his words. I'm maybe having to paint certain details in slightly differently, or changing the shade of a colour used, but so long as I stay true to the picture in a general way I'm not going to get it wrong.
* This is where I admit that from the time I first heard the German Language (and other Germanic languages, such as my own birthright, Swedish) until a few years ago I thought the sounds ugly and harsh. I found the rhythms awkward, the sounds gutteral and unattractive, and the fluency lacking. Mr Lindemann's work changed that for German. Maybe I need to find a really talented Swedish lyricist now too.
That said, I still consider spoken English pretty ugly. Maybe only words put together for lyrical or poetic reasons are going to be attractive in these languages.
[discuss]
Not long before the interview was filmed I was first getting into Rammstein, and without several illicit MP3s being sent to me and played by me illegally I wouldn't have been exposed to their music at all. I wouldn't have bought my first Rammstein CD back then, as I did. More recently, after years of not listening to Rammstein (I lost the original CD) I've now downloaded all of their other albums, listened to them for several weeks (illegally), and gone out and bought all of their CDs, including a second copy of the one I'd lost.
One would hope and, frankly, expect that in the past eight years Till has changed his opinion in respect to MP3s and online distribution. I imagine that thousands of their fans were, like me, brought into the fold by illegal distribution of Rammstein media. I'd be interested to hear his views on this now, as well as Schneider's.
Another subject raised in the interview is understanding of the music. The gist is that they leave their lyrics open to interpretation, so listeners can take from it what they will. I like this. It's the same with good paintings or sculpture; the beholder shouldn't be locked into a particular set of boundaries.
For a long time I wasn't terribly interested in the meaning behind Rammstein's work, enjoying the sound of the music and vocals for their nonsensical aesthetic, rather than for anything more profound. The lyrics are rhythmically and verbally attractive*, even sans comprehension, and that was a nice way to appreciate Rammstein for ages.
This time around I've taken more of an interest, and this interest has, in turn, lead to LILT. The LILT project has taken me beyond the mere appreciation of the music though. I've come out the other side and am trying to create something that mirrors the original German words, so this openness is no longer something I enjoy. I'm deliberately trying to convey what Till's intended meaning was, irrespective of what anyone else takes from it, and I'm included in that 'anyone else'. What I take from Till's work is really not the point. I guess this is why my wee tantrum last month was such an important point for me. It liberated me from the feeling that I might get it wrong.
I got it wrong when I read the transcript for Zerstören, and without knowing what Rammstein had declared with regard to the meaning took it to be about a vandal. In my ignorance about German I got Du Hast wrong originally as well. I thought it was a song about committment and dedication to a relationship. It is apparently quite the reverse.
Now I'm working purely from the pictures Till draws with his words. I'm maybe having to paint certain details in slightly differently, or changing the shade of a colour used, but so long as I stay true to the picture in a general way I'm not going to get it wrong.
* This is where I admit that from the time I first heard the German Language (and other Germanic languages, such as my own birthright, Swedish) until a few years ago I thought the sounds ugly and harsh. I found the rhythms awkward, the sounds gutteral and unattractive, and the fluency lacking. Mr Lindemann's work changed that for German. Maybe I need to find a really talented Swedish lyricist now too.
That said, I still consider spoken English pretty ugly. Maybe only words put together for lyrical or poetic reasons are going to be attractive in these languages.
[discuss]
2009-04-15
Tinting My World a Vivid Shade of Rammstein
I've had my head in these songs so much lately that I've gained some new perspective on how people go through life.
I did notice when I first started work on Rein Raus that I was looking at sex and people a bit differently. Granted, it's fine thinking about sex for hours at a time, but thinking about sex as per someone else's point of view is just weird. I've never looked at sex as a man might, let alone a man like that depicted in Rein Raus. He's a user with a very casual attitude to his partners, and I basically stepped on board that mindset and went with it. I have friends with similar characteristics, and I suddenly know them much better, I think. It's certainly been interesting working on that song, and I have really enjoyed the adjustments I've had to make to my own perspective.
Tier and Zerstören are a whole different kettle of fish. I can get my head into the right space, but I don't particularly enjoy it. While interesting it's very dark and very lonely. I just can't sympathise with Tier in the least, and I resent Zerstören's ugliness. I guess that's a good thing, given the evils of each. That said, I'd rather spend my life inside the mind drawn in Zerstören than go anywhere near Tier.
I think anyone who isn't a flawless God of Love can sympathise with Feuer und Wasser and Ohne Dich, and Du Hast for that matter. They're love songs, and though the message varies widely the underlying basis for each does not. It's a fairly ubiquitous.
As as aside, I've been contemplating picking up Klavier, but have hit a block. In verse three Jeremy has the following translation:
I hear mother pleading
father is beating me
In the booklet that comes with the CD those lines are transcribed as:
I heard her mother plea
Her father struck out at me
Grammatical issues aside, the latter is clearly defining whose parents they are. The translation of the original German from Jeremy, an adept German-speaker, does not, unless it's to say they're the speaker's parents. Until I know for sure which Till Lindemann intended (never mind the technicalities) I can't work on this song. The implications of that parenthood are too broad. Did Lindemann write the translations in the CD case?
That question is really bothering me. I need more information that I can't get from anyone but the author, who is so far from likely to ever see this that I think I'm going to miss out on Klavier. I find that sad.
I've got Rammstein in my mind, but no real world connection. Fuck!
[discuss]
I did notice when I first started work on Rein Raus that I was looking at sex and people a bit differently. Granted, it's fine thinking about sex for hours at a time, but thinking about sex as per someone else's point of view is just weird. I've never looked at sex as a man might, let alone a man like that depicted in Rein Raus. He's a user with a very casual attitude to his partners, and I basically stepped on board that mindset and went with it. I have friends with similar characteristics, and I suddenly know them much better, I think. It's certainly been interesting working on that song, and I have really enjoyed the adjustments I've had to make to my own perspective.
Tier and Zerstören are a whole different kettle of fish. I can get my head into the right space, but I don't particularly enjoy it. While interesting it's very dark and very lonely. I just can't sympathise with Tier in the least, and I resent Zerstören's ugliness. I guess that's a good thing, given the evils of each. That said, I'd rather spend my life inside the mind drawn in Zerstören than go anywhere near Tier.
I think anyone who isn't a flawless God of Love can sympathise with Feuer und Wasser and Ohne Dich, and Du Hast for that matter. They're love songs, and though the message varies widely the underlying basis for each does not. It's a fairly ubiquitous.
As as aside, I've been contemplating picking up Klavier, but have hit a block. In verse three Jeremy has the following translation:
I hear mother pleading
father is beating me
In the booklet that comes with the CD those lines are transcribed as:
I heard her mother plea
Her father struck out at me
Grammatical issues aside, the latter is clearly defining whose parents they are. The translation of the original German from Jeremy, an adept German-speaker, does not, unless it's to say they're the speaker's parents. Until I know for sure which Till Lindemann intended (never mind the technicalities) I can't work on this song. The implications of that parenthood are too broad. Did Lindemann write the translations in the CD case?
That question is really bothering me. I need more information that I can't get from anyone but the author, who is so far from likely to ever see this that I think I'm going to miss out on Klavier. I find that sad.
I've got Rammstein in my mind, but no real world connection. Fuck!
[discuss]
LILT: Du Hast 1.1
I've revised Du Hast's opening lines, but think it might change the meaning too far. It does work, thematically, but the purists won't like it:
You
You have
You have me
You have me today
You have me today but I will not stay
Do you vow, till death do you part
To be faithful with all your heart
No
Do you vow, when her you do part
To love her when things get too hard
No
[lyrics][discuss]
I'm not sure whether I can keep it like this.
You
You have
You have me
You have me today
You have me today but I will not stay
Do you vow, till death do you part
To be faithful with all your heart
No
Do you vow, when her you do part
To love her when things get too hard
No
[lyrics][discuss]
I'm not sure whether I can keep it like this.
2009-04-12
LILT: Du Hast 1.0
I went with the impulse to write better English lyrics for Du Hast. Naturally the word-play in the original German can't carry over, but I did manage to get one trick of my own in there, even if it is a tragically basic:
You
You have
You have me
You have me at bay
You have me at bay but I will not say
Do you vow, till death do you part
To be faithful with all your heart
No
Do you vow, when her you do part
To love her when things get too hard
No
[lyrics][discuss]
You
You have
You have me
You have me at bay
You have me at bay but I will not say
Do you vow, till death do you part
To be faithful with all your heart
No
Do you vow, when her you do part
To love her when things get too hard
No
[lyrics][discuss]
2009-04-09
Rammstein on Film
I'm not a fan of music videos. They're generally tacky and seem to be used to make up for a lack of real imagery in the lyrics, i.e. I can't write lyrics for shit, so here's a little movie to make up for the horrible shortcomings of the song. They're sometimes great films in their own right and are let down by the accompanying song, or they're a bit crap, and detract from it. Now and then you get a really good one that harmonises with the song, but doesn't alter it, either for the better or the worse, but that's rare.
I've watched a few Rammstein videos today. The Du Hast video stands out for me. It has a fairly obvious message: The band is a unit. The woman maybe represents the fact that Rammstein will not be Yokoed (poor Yoko; she's going to die long before that [ab]use of her name fades away), or otherwise weakened by external influence. There's also a slightly sinister feel of conditioning or brainwashing, which naturally doesn't apply in reality, but does darken the story nicely.
It's also a beautiful piece of film. I'm seriously impressed. I've watched it over a few times to take in the detail, and kept enjoying it each time. The band get their message across, the filming is great, the chick in it rocks, and the song and the film work together, without the song being changed in any real way by seeing the video.
The message I've always got from the German song is 'you have me', as in "you've got me, so if you need anything here I am". A bond was implied. That's down to poor understanding of German. Then I worked out the message is a contradiction of that, with the refused marriage vows hammering it home. I like it in German. The puns rock, and the refusal amuses me.
On the other hand the English lyrics are a bit crap. They make no sense and don't sound as good. I've thought about doing my own translation of Du Hast, but can't decide if that would be stupid or not. I'd certainly like to wipe the English version of the song that has been recorded off all cover play-lists, ever. I don't want to match it with another bad idea though.
I'll think about this some more.
[discuss]
I've watched a few Rammstein videos today. The Du Hast video stands out for me. It has a fairly obvious message: The band is a unit. The woman maybe represents the fact that Rammstein will not be Yokoed (poor Yoko; she's going to die long before that [ab]use of her name fades away), or otherwise weakened by external influence. There's also a slightly sinister feel of conditioning or brainwashing, which naturally doesn't apply in reality, but does darken the story nicely.
It's also a beautiful piece of film. I'm seriously impressed. I've watched it over a few times to take in the detail, and kept enjoying it each time. The band get their message across, the filming is great, the chick in it rocks, and the song and the film work together, without the song being changed in any real way by seeing the video.
The message I've always got from the German song is 'you have me', as in "you've got me, so if you need anything here I am". A bond was implied. That's down to poor understanding of German. Then I worked out the message is a contradiction of that, with the refused marriage vows hammering it home. I like it in German. The puns rock, and the refusal amuses me.
On the other hand the English lyrics are a bit crap. They make no sense and don't sound as good. I've thought about doing my own translation of Du Hast, but can't decide if that would be stupid or not. I'd certainly like to wipe the English version of the song that has been recorded off all cover play-lists, ever. I don't want to match it with another bad idea though.
I'll think about this some more.
[discuss]
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