Most metalheads regard Rammstein as kiddie-oriented commercial pap thanks to the band’s phenomenal international success, but the fact is that both veterans and newcomers on the metal scene would do well to follow the German sextet’s example when it comes to developing their sound. Rosenrot is a prime example of Rammstein’s continuing evolution. Okay, the lyrics are typically controversial, dealing with a variety of subjects including homosexuality (‘Mann Gegen Mann’), being burned to death (‘Hilf Mir’), assisted suicide (‘Spring’), wanton destruction (‘Zerstoeren’) and Latin love (‘Te Quiero Puta!’). Musically, however, Rammstein remain boldly unafraid of trying new things and tweaking the old. Heavier and darker than last year’s Reise Reise album and showcasing some choice up-tempo numbers, Rosenrot is perhaps the least techno-industrial of all their releases. The symphonic (keyboard) elements of the Mutter album have returned but do not soften the sound, the trademark guitar grooves are bigger and fatter than ever, the drums don’t sound like they were spit up by a machine, and the songs are rife with nuance. Tempo changes (‘Hilf Mir’), acoustic guitars and female vocals (‘Stirb Nicht Vor Mir’/Don’t Die Before I Do’), double bass, and ridiculous Spanish horns all make for an unexpectedly rich listen. And vocalist Till Lindemann, once thought to be Germany’s one dimensional answer to Type O Negative baritone Peter Steele, sings up a storm. Have no fear, his familiar monotone is in fine form (see ‘Benzin’), but it’s kinda refreshing to hear him croon on occasion or screaming bloody murder. Sadly, as with all Rammstein albums, Rosenrot ends with a whimper rather than a bang, being about two songs too long. Now, if they could only do something about the lack of real balls-out guitar solos…