Вінілова платівка Caspar Brotzmann Massaker - It's a Love Song 2LP (0811521011167)

For Fans of: Jimi Hendrix, Aaron Turner, Keiji Haino. Since the mid-1980s, Caspar Brötzmann has been shaping an unmistakable sound - infernal, radical, uncompromising. He unwaveringly pursues his own path, beyond clear genre boundaries. As the son of the famous saxophonist Peter Brötzmann, he found his artistic identity early on and developed a unique sound language that discharges in brute catharsis. His music is not an adaptation to trends, but a sensitive, passionate, almost obsessive approach to despair and anger - and yet full of hope. With his virtuoso independence on the instrument, he is an exceptional phenomenon. An atonal Hendrix, made in Germany.

Following the release of his first composition “The Lovers And Destroyers” with Caspar Brötzmann Bass Totem in fall 2024, the internationally renowned guitarist and his band Massaker are now set to release a record on the German label Exile On Mainstream. “It's a Love Song” marks the first recorded music piece since 26 years, after the critically acclaimed album “Mute Massaker” in 1999. It features two different live versions of his song “All This Violence”, which were recorded in Vienna and Dresden with Saskia von Klitzing (drums) and Eduardo Delgado Lopez (bass).

In view of the current world situation, Brötzmann decided to make a clear statement with ‘All This Violence’. He himself writes: ". . . after just a few moments, it became clear that the live recordings I was hearing, had a message, a power to reflect on current events. None of my studio recordings had this power. Even more – it also became clear to me that I was finally finding my musical path with Massaker, a future sound for my old band. Over the past twenty years, I have been on a search, which I have often abandoned then picked up again, either because there was no more money, no label, Corona, or no future direction. That doesn’t sound like much fun – and it truly hasn’t been. Yet, my vision and feeling of a new sound remained present and kept exciting me. I just had to do it one way or another . . . Deep inside of me was a feeling I could not yet define . . . . . . and that was only one side of it. It also meant finding the space between black and white, between light and darkness, between lightness and heaviness (all my other songs needed a placement too). I have been searching for it for a long, long time and suddenly, unexpectedly, there it was…”