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In 2003, he appeared in German children’s film Amundsen Der Pinguin (about a penguin that finds treasure, obviously).

“Rammstein is a big corset that asphyxiates you,” the singer once said of his band. Given that they’re the product of a totalitarian state, it’s fitting that Rammstein operate like an army, rigid and inflexible, with every decision having to be agreed by all six members. With Till, you know that he means it.” That dedication extends to the band’s live show – Till is a certified pyro technician, which gives him a level of investment what happens onstage that other singers don’t have. Especially since there are singers who say or sing just about anything because it sounds good. That makes the whole song a lot more precious.

“When he sings or says something, you realise that he also means it. “Till radiates complete authority in my eyes,” says Rammstein keyboard player Flake Lorenz. It wasn’t until Rammstein formed in 1994 that he properly assumed the job of frontman, though with hindsight it seems to be a role he was born to. In the mid-80s, he drummed for underground punk band First Arsch, alongside future Rammstein bandmates Richard Kruspe and Paul Landers. It’s ironic that one of the most commanding frontmen in music never actually started out as a singer. As Richard once put it: “I think it’s great that he found the music to express his way of life.” That might be the case, but songs such as Bück dich and Golden Shower (the latter by his English-language side-project, Lindemann), the hilarious and subversive videos for Sonne and Pussy, and Till’s dildo-wielding, keyboard-player-pegging onstage antics suggest that sex is still a major pre-occupation. “It’s a provocation, it’s a humour, and it’s the small, savoury spice in the stew that will make people listen up. “I’m not obsessed with sex,” said the man who was a regular habitué of Berlin’s fetish clubs. Still, he has always insisted that there’s more to his worldview than just 50 shades of lust. “Subjects like fetishism, what others call sexual deviations, the different sexual preferences, sadomasochism.” “I have always been interested in the hottest, unusual and scabrous aspects of life, especially to love and sex,” he said in 2015.

A fascination with all things carnal has been a key theme of his lyrics for the past 25 years. “The despair of the youth,” Till later said. Deep Purple’s 1974 album Stormbringer, bought on the East German black market, was a key musical touchstone, as were the works of such Western literary figures as dissolute poet-author Charles Bukowski and JD Salinger, author of teen-angst touchstone The Catcher In The Rye. Instead, he immersed himself in the arts. By his early teenage years he had been pushed into swimming competitively and was good at it, too – he was in with a shout of attending the 1980 Moscow Olympics as part of the East German swim team, until a head injury nixed that idea. The discipline that would characterise his work with Rammstein was instilled early on. “I kept telling him, ‘If I can’t be something useful, I can always become an author,’” Till later said. Till responded by mocking his father’s profession. Werner seemed dismayed that his son had developed an interest in western rock music and girls from the neighbouring villages. Till’s parents separated when he was young, and he had a strained relationship with both, particularly his father. His mother, Gitta, was a journalist and his father, Werner, a poet and children’s author with hardline socialist views. He was born on January 4 1963, and grew up in what is now the north-eastern German federal state of Mecklenburg-Vorpommern.

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