Nearly thirty years into their career, it's fascinating to watch a band like Rammstein age. Starting as perversely mischievous outsiders, they've not discarded the more immature aspects of their sound and style despite having several members soon to reach their 60s. Yet memento-ing mori has always been something near and dear to die Rammsteiner, and an album literally called Time written during the Covid-19 lockdown in Germany (which interrupted the touring for their 2019 album) can only have a sombre attitude. Of course, an ageing Rammstein still delivers, as their previous album proved, and although it doesn't come with a debut single half as powerful or moving as Deutschland, Zeit shows the band off extremely well regardless.

The package overall remains solid and unified; the phallic yet oddly arresting title image (taken by that Bryan Adams, of all people) fits Zeit's theme as much as the music. Although it may take a couple of listens to appreciate it this is a fine effort, with a greater emphasis on melancholic, at times almost gothic atmospheres making for a solid set of songs that work their hooks in insidiously. Early listens, and it's easy to see why some would place this alongside Rosenrot as the band's weakest. With time, it grows much more; some have outright been praising it as the band's best, which is a little hyperbolic even as a fan. The notable focus on slower, more balladic songs makes the album feel lifeless at points, and those looking for anything genuinely new or leftfield from the band will be disappointed. That usual industrial rock formula that the band have mined much from gives stomping cuts like Giftig and OK a familiar yet catchy vibe, like songs from the band's earlier days that you've not heard in a while, and alone would be enough to give the album a regretful thumbs down.

What does not disappoint is Till Lindemann, providing a career-best performance with genuine emotional power that elevates ballads like Meine Tränen and the fantastic title track. Each and every song present has its own ear-bending hook, the band's songwriting skills honed sharp, and each also proudly boasts Lindemann as its strongest aspect. Angst especially shows off the emotion he puts in, living up to its title, while Lügen is a rare example of the new, an initially sotto-voice ballad with ever-more emotional cries from Till Lindemann that tip over into oddly hilarious and completely melodramatic autotune. Conversely, the song Dicke Titten is the very male wail of despair of the lonely ageing man, who wants nothing more than a woman with said grandes tetas to salve his soul, which is "bleeding like an open wound" as the band put it. The listener is left to decide which of these causes most emotional scarring! Few can so sum up the human condition in all its toxicity as Rammstein nowadays, embracing sexuality and humour alongside despair and frailty. And although it's not their strongest album by any means, Zeit shows that a mature Rammstein still has plenty of fire - and time - left.