T.L. – Till Lindermann (Vocalism).
R.Z.K. – Richard Z. Kruspe (Solo-guitar).
P.H.L. – Paul Heiko Landers (Rhythm-guitar).
C.S. – Christoph Schneider (Drums).
C.F.L. – Christian Flake Lorenz (Keyboard).
O.R. – Oliver Riedel (Bass-guitar).
J. – Jacob.
I. – Interviewer.
T.P. – Technical personal.
O.M. – One man.

(El Cortijo Studio on screen. Malaga, Spanien. Recording Session).

O.R.: We decided on Spain because we didn't want to record in Berlin. It was too close to our everyday lives. So the question was, where can we go?

P.H.L.: Up to now, each album was made away from home, which has worked out well. Since it's a cold time of year back home, we went to a warm country. If we're going away to concentrate better, we can go somewhere warm.

Record processing in studio:
J.: That's not quite right!

C.F.L.: I love the shimmering effect!
This production was more relaxed than the others. There were many reasons for this.

C.S.:  We were more relaxed with each other. We don't get so worked up about the music...
...or other stuff in the songs. The production motto for me was "it's just music."

Dialogue Rammstein on kitchen:
- It's like MTV, no?
- The colours!
- There's a concept here:  "...at home with Puff Daddy."
- You put the sausages back on? I took them off.
- I was downstairs listening to music, they were already on there 5 minutes too long.
- Dump them, put on new ones!
- No way, they look good.
- You've got really daft taste in hats!
- I never would've expected such a response from you guys.
- You're doing that deliberately. You just want to stick out!
- You probably think the broads dig your hats.
- Now they're burned!
- Great!
- These are the funkiest sausages.
- Get one down.
- That looks nasty!
- That looks like MEIN TEIL!
- Concerning MEIN TEIL...

R.Z.K.: Beautifully presented, sprinkled with salt, tastes good.
Filming us eating is disgusting! Stop it right now!

Interview:
J.: Talking on English without subtitles.

C.S.:  Schneider, our drummer, plays much differently. He found a new way to drum. It starts with the fact that a lot of things were not as fully developed as they were in the past. So we could try stuff out first.

J.: Talking on English without subtitles.

T.P.: The groove has to be just right!

C.F.L.: A sort of Enya choir...

P.H.L.: My dream was always to make a Rammstein record that sounds like a soundtrack from a futuristic movie. Modern! Crazy and unusual sounds whir through the air. People stare in wonder. "Wow, how did they do that?" That's what I always have in mind. In the end, a perfectly
normal record emerges.

C.F.L.: But I don't think about that, how a record should sound. It should sound like the names of the songs. I don't have a certain sound in mind.

I.: Not the sound, but how it is supposed to be...

C.F.L.: There's nothing that it should be. It just is the way that it is! I don't have any specific ideas in mind.

O.R.: For me, it would be nice if this album didn't sound so quantized, not so pumped up and over produced. I'd like the songs to be the main thing.

T.L.:  I think this record will be more pop than the last. And "Mutter" was already quite pop. If the songs are good, it doesn't matter. It would be cool if it started to buzz and rock out a bit.
Now we're trying to be more artistic. We're more experienced. The anger, the initial charm we had on the first album, where it really "hissed", that's gone. Now we're trying to make everything correct and decent. Good arrangements... Everything has to be just right...

C.F.L.: For me, technology hasn't changed things much. Some things are simpler. You don't have to rewind tapes anymore, when you record into a computer. But the thing itself hasn't changed.

P.H.L.: The new technology allows us to record anywhere we want. You're not tied to the big studios. You can be anywhere and say, "I want to record here now." And you get the same quality that you used to get only in the big studios.

С.S.: We've allowed ourselves to be seduced by technology in the last productions.
You can take a choir or a string section from a sampler. Each instrument is available in canned form. You end up using it too. On this record we were tired of that. We didn't want to repeat it, We decided not to ornament the music with canned instruments. We decided to record
the choirs and strings live. And include other instruments beyond our normal instruments. The results are pretty convincing. It's surprising how much nicer it is to hear acoustically played instruments.

(Studio Saal 1 on screen. Berlin, Deutschland, Orchester Recording Session).

J.: (Something talks).

C.F.L.: The good thing about Jacob is that he finds our strengths and expands on them. He can realise our ideas and he brings out the essence in places where we can no longer hear if it's good or bad. Because he has the overview.

R.Z.K.: I think he's the only one in the whole group, who can feel the music that deeply. He hears things that I simply can't hear. He practically has a telescope for an ear (laughs).

T.L.: He's great at arranging and building a song. An outsider probably wouldn't notice if it was sung differently. But he sets it exactly right. I mean, he doesn't speak German so he goes by phonetics. And he puts everything together very nicely.

J.: Talking on English without subtitles.

T.L.: Normally, you sing in a studio room. But we set it up so that I can record in my bedroom. Why? The surroundings make a big difference. I can look out the window. Down in the studio it can be a bit sterile. Especially when he's sitting right next door. With one song, I kept a tally sheet. I knew it would be hard. I think I sang it 82 times through.

J.: Talking on English without subtitles.

T.L.: Then he puts the tracks together. Takes 30 seconds here... doubles up there and 140 takes later, you're finished.

J.: Talking on English without subtitles.

T.L.: Sometimes I could choke him!

I.: And why don't you do it?

T.L.: I'd have to go down there first... And once your down there, he just sits and looks at you... And you can't be angry with him.

J.:Talking on English without subtitles.

Rehearsal:
T.P.: Beautiful! Really, very good! Let's continue with "Amerika".
(Choir singing "America").

(Studios 301 on screen. Stockholm, Schweden. Drum Recordings).

С.S.: We've recorded many times in Stockholm. We recorded our first album here
and also tried to do the mix. We mixed the third album here. That one was so good that we decided to use the same audio engineer again: Stefan Glaumann. The problem is he only works here, in his little studio. He owns special equipment that only he knows how to operate.
Since you can't transport him and his equipment anywhere, you have to go to him.

I.: Don't you think we've got a few mics too many here?

J.: Yeah, but we seem to need this many!

I.: Three for the snare and one for each of the toms. Is that good?

J.:  Maybe we're exaggerating a little bit, but we decided to do it this way. Maybe one mic is really better, but we wanted 25 (laughs).

T.P.: 26!

J.: (Laughs).

Schneider playing on screeт.
J.: Schneider, we love you! That way a great take. Beautiful!

Dialogue Rammstein in elevator:
- Should we press the alarm button again?
Singing: Peace, peace, peace. Peace for the world.
- Are you doing anything else or going to bed?
- Something talk on German. (Without subtitles).
- And goodbye!

(Toytown Studios 36 on screen. Stockholm, Schweden. Mixing Session).

O.R.: That's it - the fourth...

J.: Sounds likes a mistake to my ears (laughs).

O.R.: That's music!

J.: Okay then, I'll use it.

O.R.: Doesn't it work for you?

J.: Sure it does! That all works...

J.: Talking on English without subtitles.

C.S.: I think this album should be called... "Rot."

C.F.L.; I'd like to call it "Nein". Because that's a really pretty name.

P.H.L.: I like "Amerika"... I like "Amore"...

R.Z.K.: Don't know.

O.R.: (laughs) I'd be pleased if it was called "Reise, Reise".

(Photos on screen).

O.M.: (Playing on accordion) Okay. We'll use that one!