Rammstein soloist Till Lindemann followed in the footsteps of Boris Moiseev

How he foresaw that he would be accused of violence

As if anticipating the scandal with the revelations of a sexual nature, which ZD wrote about a month ago, Till Lindemann, the lead singer of the band Rammstein, took part in a project against violence against women in advance. The clip Child of Sin (“Child of Sin”), in which Till performs in tandem with the avant-garde Dutch singer Kovacs, became a loud and straightforward answer to the face of all the accusers who took up arms against him at the end of May.

It was as if Till knew a year ago (when the clip was being shot) that a reputational crisis would soon come in his career that would jeopardize all his achievements. He took part in the fate of the expressive young artist in advance, recorded a song with her and starred in the video, which was released just in time a month after the scandal that almost destroyed the entire giant business car of the Rammstein group, rushing at full speed along the high-speed German autobahn.

According to the plot of the clip, the car that Till was driving, and the drunken Kovacs was arguing and fighting with him at that moment, tragically overturns on the track. This leads to the death of passengers. Doctors are trying to save them, and at that moment their souls sing and remember how they came to such a life. How their existence from early childhood was filled with violence, where love was not associated with anything good. “I am not a child of love, but I am a child of sin!” shouts Sharon Kovacs angrily, and the word “sin” becomes the refrain of the entire audiovisual masterpiece.

At the climax of the video, Sharon’s soul turns into a black angel and, in a fight choreographed as a dance, rips Till’s heart out of his chest. Moreover, the heart looks incredibly large for the human body, apparently so that everyone understands what it is about and does not confuse it with any other organ. And, of course, Mr. Lindemann can only have such an incredibly big heart – a direct metaphor is also read. The angel places this giant beating heart into the body on a gurney, causing the dead girl (Kovach) to immediately rise up as an angel with black wings and open her eyes in surprise. Till, respectively, dies in this tragedy.

Under a clip on her channel, Sharon Kovacs talks about what it all means: “It took me many years to tell my story. Over a year ago, Till Lindemann and I met to work on this very important song for me, which delves into the painful subject of insults. This story is based on my personal experience, so the topic was extremely sensitive for me. I felt great respect and support from Till and his team. In January of this year, the song found its place in my album. As an artist, it is extremely important for me to state that I strongly oppose any form of abuse of women, regardless of the circumstances. I believe that sharing my story is an important step in raising awareness of the dangers of abuse and its long-term impact on women and girls. I hope that through the power of my song, we can shed light on the dark reality of abuse, helping to develop understanding and empathy while advocating for change.”

Considering that Till was recently accused of abusing women, this joint work, filled with vivid emotions and deep sympathy for the topic and the death of the offender in the person of Till, literally saved his reputation as a creative unit and a poet whose books have already begun to be withdrawn from sales in Germany.

In addition to the obvious artistic value of the joint work of Till and Sharon, the Russian-speaking public has something to marvel at in this most interesting clip. Firstly, the title of the song Child of Sin literally refers to the imperishable classics of domestic pop culture: the “Child of Vice” in the person of Boris Moiseev has existed in it since 1993. Moreover, the song begins with a moralizing text, which Boris literally uttered in the same deep, cracked, breathy voice with which Till Lindemann practices almost his entire tragic part in the new song with Sharon.

Secondly, we have a duet of the same Boris Moiseev and Lyudmila Gurchenko “Petersburg – Leningrad”, in which two people go in a car (a car also appears in the video of Sharon and Till), there is a conflict between them (in our case it is expressed in ostentatious cold couples, in the case of Till and Sharon – in a scandal), and, finally, at the culmination of the video there is a dance that ends with us in a final separation, and in them with a heart being torn out of a man’s chest, which symbolizes the same thing. Well, the cold color solution of both clips also makes these two works related. And the result is an absolutely amazing squiggle: Moiseev’s “Child of Vice” thirty years ago in terms of innovation at full speed bypasses European avant-garde artists and receives the palm.

Published in the newspaper “Moskovsky Komsomolets” No. 29068 dated July 12, 2023

Newspaper headline:
Rammstein’s executions