Not many bands are as immediately recognisable both sonically and visually as German industrial metal band Rammstein. Their reputation for over the top pyromania based live shows and pushing boundaries is well documented. But as with any collection of creatively successful people, individuals will naturally want to explore further opportunities for expression. So, it makes sense that guitarist Richard Z. Kruspe’s band Emigrate offers both a fresh mixing pot of industrial and electronica tinged rock with solid melodies. The second album in several years titled ‘Silent So Long’ also contains an array of collaborations with some notably uncompromising vocalists.
Discussing the guests on the album that Richard managed to attract reveals a lot about the project’s purpose. “EMIGRATE was created out of frustration I had in my other life in Rammstein,” he admits. “Being in a band for twenty years and in a very close environment, I thought I was missing some things. There was so much collaboration in East Berlin and then when the walls came down, there was a lot so I created something to do these collaborations. I needed seven years to find a mental switch to be a singer. We were listening to the tracks and they were dictating to us which singer we should ask.”
For example, he was surprised that Lemmy [Kilmister – Motörhead] singing along with a melodic, floating guitar line in the song ‘Rock City’ worked brilliantly. “Yeah, I was surprised too,” he confirms. “I did this little pop song on an acoustic guitar. I played it to the guys and the drummer then doubled the tempo. Jamming along I thought, ‘this sounds like a mixture between Motörhead and Depeche Mode’. We decided to go for Lemmy first. He was sick at this point but we sent this track anyway and a couple of days later I got an email with the song and his vocals but no explanation. If you listen closely, his voice is fragile but it gives the track an emotional attack. I was really happy that he did it even though he was sick. I’ve a lot of respect for him. He’s unbelievable.”
Another song titled ‘Hypothetical’ has Marilyn Manson adding unique vocals. It took a contact in Los Angeles in order to get it happening. “I thought Manson was needed as it all made sense with the lyrics,” he says. “It was hard to get a hold of him and he felt my version was good enough. He was trying to do something different but I had something else in mind so I asked him again to come back into the studio. I had a friend in LA to get him into a home studio environment. They worked for eight hours on the track and came back with exactly what I wanted. I guess if you get involved with Manson, a little bit of drama is always involved.”
Growing in confidence, the second EMIGRATE album is effectively self produced but that also involves collaborations with other band members. Be it Olson Involtini [guitars] pushing ideas or Arnaud Giroux [bassist], it is all tightly run. “On the first record I used my producer Jacob [Hellner] who worked on the Rammstein records,” he says. “I since realised I have enough confidence to do it myself. We work as a close team and it was not that complicated to step back and be a producer.” Still, Richard is aware of his limitations. “The only problem was with guitars because I was re-playing guitars five times. I needed a producer to say move on from chasing a guitar sound that I couldn’t find,” he concedes.
“I was surprised how rock sounding the first record was but doing that in New York had something to do with the sound. I moved back to Berlin three years ago and this record sound more moody and darker as a result. In the beginning I thought I would only do two records with EMIGRATE but now somehow on listening to it and going through the production process, I do see a future for the band. If people realise they get quality tracks and quality singers, we’ll do more. They look great on the record, it is important.”
There are a number of guitar solos on the latest album and also some might not be aware that Richard has his own line of signature ESP guitars. The title track contains quite an expressive guitar solo from Richard. “Those solos were all demos and I tried to replay them many times,” he says. “For all the solos I kept the first track. I was always looking for something else but came back to the demos thinking fuck it, it sounds good. I double guitar riffs a lot and use octaves to get the mid range going a little bit more.”
So, does the notoriety of a band like RAMMSTEIN with massive pyrotechnics and huge stage shows overshadow his skills as both producer and a guitarist? “Yes, it did overshadow things a little bit and people mostly talk about the visuals,” he candidly replies. “I had my problem with that more in the beginning where people did not refer to the music so much. I like both but I’m a musician rather than a pyro-technician. It works in RAMMSTEIN but I had to prove with EMIGRATE that I can do other things.”
“RAMMSTEIN always followed their own rules and instincts,” he continues. “We were never were desperate and always felt like we had to do our own thing. Now, if you talk about German music, we will always be known as having our own sound. I’m trying to do that with EMIGRATE as well. I’m not living in a vacuum but I’m trying to be authentic and individual.”
Berlin is clearly an influential music location with some dark electronica. Given the latest album includes synthesiser sounds within the mix, it is fair to ask if it is as emotional an outlet as the guitar. “Any instrument can be emotional but it is in the way you play it, what kind of melody or sound you use,” he says. “I do believe that a keyboard or a synthesiser line can be as emotional as a guitar, it is just the way you bring it in.”
How the songs came about varies whether it began life from a synth or bass line, a guitar melody or even a vocal idea. “It is all different,” he states. “The title track is based on a bass line that I came up with whilst ‘Get Down’ was inspired by sitting in a fucking strip club and being really bored. I never understood the concept of strip clubs. ‘Faust’ is a riff based song inspired by a movie called ‘Devil’s Advocate’ from Al Pacino’s monologue about God whereas ‘Rainbow’ was inspired by my daughter. The most personal one is ‘Born On My Own’ which was inspired by reincarnation therapy.”
When the BIG DAY OUT festival was operational, RAMMSTEIN headlined, playing in sweltering summer conditions. It is only fitting to ask Richard how he you coped with playing live is such extreme heat whilst adding and pyrotechnics aplenty. “It is a lot of experience,” he says, to explain survival. “If you get involved with fire, a certain element is unpredictable so you have to love it, in a way. Sometimes it gets hot and you just have to deal with that. You cannot get drunk or do drugs as you will suffer and be in pain or even in flames. You have to be careful and know where to step. I personally like to be warm and hot which is funny living in Germany. I love the heat because it gives you such an energy kick. It is almost like the same thing when you’re playing a song and you’ve got people shouting and singing along. Fire gives you that awesome kind of energy.”