Brötzmann Massaker
- Ersteller Strappado
- Erstellt am
Avo
Till Deaf Do Us Part
Nachdem ich die Promos schon monatelang zuhause rumfliegen habe, habe ich sie jetzt auch endlich mal angehört. Beide Remaster klingen klasse. Jeder, der die Originale nicht hat, sollte jetzt zuschlagen.
Ich werde mir "The Tribe" nun auch enndlich im Original zulegen und die "private Sicheheitskopie", die zu Schutzzwecken zu mir ausgelagert wurde, verschrotten.
Ich werde mir "The Tribe" nun auch enndlich im Original zulegen und die "private Sicheheitskopie", die zu Schutzzwecken zu mir ausgelagert wurde, verschrotten.
Jenny Death
Till Deaf Do Us Part
Wenn ihr eh schon alles doppelt und dreifach herumliegen habt, dann könnt ihr auch einfach mal etwas abgeben statt zu horten. Her damit @Jenny Death, ihr Prötzer!
D
deleted_53
Guest
Beide zusammen kosten bei SL EU inkl. Porto 42€. Bei den hier abgerufenen Retail-Preisen echt das bei weitem günstigste Angebot (vgl. bei JPC inkl. meinem Stammkundenrabatt: 48,41€; anderswo wesentlich teurer)
D
deleted_53
Guest
Die nächsten beiden Reissues sollten im Juni erscheinen.
Avo
Till Deaf Do Us Part
*hibbelhibbel*
D
deleted_53
Guest
Dann auch offiziell und mit Live-Dates!
CASPAR BRÖTZMANN MASSAKER: Southern Lord To Reissue Der Abend Der Schwarzen Folklore And Koksofen Albums In This July
Southern Lord announces the next CASPAR BRÖTZMANN MASSAKER reissues in the ongoing series, continuing with Der Abend Der Schwarzen Folklore and Koksofen, now confirmed for release in July. Tracks from each of the two new reissues are now posted for streaming. The outfit will also be actively performing live this summer, including supporting Sunn O))) on tour in Europe.
CASPAR BRÖTZMANN is one of the most unique and innovative guitarists of the last forty years. With his Berlin-based trio MASSAKER, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental "sonic waste," such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable, and hermetic, yet also archaically tender and loving.
Even today, as the art of noise has reached a level of sophistication that no one could have imagined thirty years ago, CASPAR BRÖTZMANN MASSAKER's music is resoundingly singular. Ultra-heavy riffs and beats, ominous tribal chants, and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling.
Stream CASPAR BRÖTZMANN MASSAKER's "Bass Totem"from Der Abend Der Schwarzen Folklore HEREand "Die Wiege" from Koksofen HERE.
Both Der Abend Der Schwarzen Folklore and Koksofen will be reissued via Southern Lord on June 28th, with CD, LP, and digital formats made available. Find digital preorders for Der Abend Der Schwarzen Folklore HERE and Koksofen HERE, and watch for physical preorder options to be posted shortly.
CASPAR BRÖTZMANN MASSAKER will be performing live this summer supporting labelmates Sunn O))) on their upcoming European tour dates. See all confirmed performances below and watch for additional live actions to be posted.
CASPAR BRÖTZMANN MASSAKER w/ Sunn O))):
7/30/2019 Festsaal Kreuzberg - Berlin, DE
7/31/2019 Festsaal Kreuzberg - Berlin, DE
10/07/2019 Backstage Werk - Munich, DE
10/08/2019 ZKM - Karlsruhe, DE
10/09/2019 Rosstall - Basel Kaserne, CH
10/10/2019 Felsenkeller - Leipzig, DE
10/13/2019 Kablys - Vilnius, LT
10/14/2019 Vene Theatre - Tallinn, EE
10/15/2019 Kulttuuritalo - Helsinki, FI
Originally released in 1992, Der Abend Der Schwarzen Folklore is the third MASSAKER album, released by Rough Trade Germany. According to BRÖTZMANN, the title track and "Bass Totem" are the band's most accomplished songs. It's certainly the most sonically refined of their albums, recorded during a residency over several weeks at the pastoral site of Conny Plank's studio near Cologne, and produced by Ingo Krauss and Bruno Gebhard, who had worked with the famed Krautrock producer until his death in 1987.
Der Abend Der Schwarzen also features their new drummer Danny Lommen, whom BRÖTZMANN and bassist Eduardo Delgado had headhunted at a concert with Lommen's Dutch prog-core band Gore. Lommen shared their tastes in sheer volume and presence, and, "has a completely unique sound to his drumming, "as BRÖTZMANN marvels. "He plays ultrahard and clear, with authority and no compromise, nothing, not even the most turbulent and speedy beats, sound fuzzy - a statement." This, he adds with a smile, would sometimes lead to intense moods during rehearsals, when he overpowered - no small feat - competing with the sounds of BRÖTZMANN's guitar.
The Tribe and Black Axis were still if very loosely rooted in some kind of heavy rock. Der Abend Der Schwarzen Folklore erases these residues from their genetic make-up, evolving into a free-form noise, strangely motionless like an earthquake rumble, that sounded like nothing else at the time. The opening title song gives the best example with its densely shifting chunk of howling and screaming guitar shreds and grimly determined rumbles from the bass, accented by heavy single beats or massively rattling, yet transparent outbursts from the drums. An impenetrable sense of threat fills the sound, interrupted only by breaks of skinny brooding, giving way to BRÖTZMANN's throaty growl evoking a lonely march through hostile wastelands under flaming sunsets. Culminating in an archaic choir chanting about black walls rising - a monstrous cloud of thick high-voltage tension.
BRÖTZMANN speaks of the heavy nature of the lyrics, inspired by 19th century artist Caspar David Friedrich's painting "Das Eismeer," translated to "the sea of ice," which depicts a shipwreck the icy shores of Antarctica. It deals, of course, with ideas of the sublime in nature - but also "the end of hope," as the painting was known until the sixties. And indeed, BRÖTZMANN credits his dark and brooding sounds to the uneasy times. With the wall down, the Eastern Block broken, East and West Germany were politically united but emotionally didn't share much more than a certain angst and uneasiness with respect to the future, which erupted in ugly right-wing riots and violence. BRÖTZMANN felt the rise of a black folklore that he wanted to address, though he never admitted to it at the time because, he said, he didn't want to sound like, "some naive romantic," not underestimating the music's gothic values; a weird idea, once you've listened to Der Abend Der Schwarzen.
Koksofen (which translates to "blast furnace"), originally released in 1993, has become one of MASSAKER's most popular albums. Like its predecessor, Der Abend Der Schwarzen Folklore, the album took shape in MASSAKER's rehearsal room below the Berlin subway station Schlesisches Tor, and was recorded at Conny Plank's studio near Cologne, with Plank's former associates Ingo Krauss and Bruno Gephard producing.
There's a different kind of intensity to Koksofen. The features of MASSAKER's sound are in full bloom. Mountainous noises tower up and crash down, and tormented sounds rise from ominously seething grounds, haunting the entire songscape. The feel of doom and dread hangs heavily over the five songs, and the title song rumbles, shrieks and wails, plagued by BRÖTZMANN's guttural growls of war, suffering, and death.
BRÖTZMANN recalls one anecdote from shortly after the original release whereby bassist Edu Delgado called him asking to turn on the TV, thus discovering that "Hymne" was being used as background music to a report about the death penalty in the US. A different kind of intensity indeed.
Reflecting on the album to this day BRÖTZMANN remarks "Koksofen is still a mystery to me.'' He continues, "I can still feel the troubled times in these songs." The effects are certainly potent for the listener too. And the album undoubtedly affirms MASSAKER as the fiercely original and compellingly raw musicians that they are.
CASPAR BRÖTZMANN MASSAKER: Southern Lord To Reissue Der Abend Der Schwarzen Folklore And Koksofen Albums In This July
Southern Lord announces the next CASPAR BRÖTZMANN MASSAKER reissues in the ongoing series, continuing with Der Abend Der Schwarzen Folklore and Koksofen, now confirmed for release in July. Tracks from each of the two new reissues are now posted for streaming. The outfit will also be actively performing live this summer, including supporting Sunn O))) on tour in Europe.
CASPAR BRÖTZMANN is one of the most unique and innovative guitarists of the last forty years. With his Berlin-based trio MASSAKER, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental "sonic waste," such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable, and hermetic, yet also archaically tender and loving.
Even today, as the art of noise has reached a level of sophistication that no one could have imagined thirty years ago, CASPAR BRÖTZMANN MASSAKER's music is resoundingly singular. Ultra-heavy riffs and beats, ominous tribal chants, and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling.
Stream CASPAR BRÖTZMANN MASSAKER's "Bass Totem"from Der Abend Der Schwarzen Folklore HEREand "Die Wiege" from Koksofen HERE.
Both Der Abend Der Schwarzen Folklore and Koksofen will be reissued via Southern Lord on June 28th, with CD, LP, and digital formats made available. Find digital preorders for Der Abend Der Schwarzen Folklore HERE and Koksofen HERE, and watch for physical preorder options to be posted shortly.
CASPAR BRÖTZMANN MASSAKER will be performing live this summer supporting labelmates Sunn O))) on their upcoming European tour dates. See all confirmed performances below and watch for additional live actions to be posted.
CASPAR BRÖTZMANN MASSAKER w/ Sunn O))):
7/30/2019 Festsaal Kreuzberg - Berlin, DE
7/31/2019 Festsaal Kreuzberg - Berlin, DE
10/07/2019 Backstage Werk - Munich, DE
10/08/2019 ZKM - Karlsruhe, DE
10/09/2019 Rosstall - Basel Kaserne, CH
10/10/2019 Felsenkeller - Leipzig, DE
10/13/2019 Kablys - Vilnius, LT
10/14/2019 Vene Theatre - Tallinn, EE
10/15/2019 Kulttuuritalo - Helsinki, FI
Originally released in 1992, Der Abend Der Schwarzen Folklore is the third MASSAKER album, released by Rough Trade Germany. According to BRÖTZMANN, the title track and "Bass Totem" are the band's most accomplished songs. It's certainly the most sonically refined of their albums, recorded during a residency over several weeks at the pastoral site of Conny Plank's studio near Cologne, and produced by Ingo Krauss and Bruno Gebhard, who had worked with the famed Krautrock producer until his death in 1987.
Der Abend Der Schwarzen also features their new drummer Danny Lommen, whom BRÖTZMANN and bassist Eduardo Delgado had headhunted at a concert with Lommen's Dutch prog-core band Gore. Lommen shared their tastes in sheer volume and presence, and, "has a completely unique sound to his drumming, "as BRÖTZMANN marvels. "He plays ultrahard and clear, with authority and no compromise, nothing, not even the most turbulent and speedy beats, sound fuzzy - a statement." This, he adds with a smile, would sometimes lead to intense moods during rehearsals, when he overpowered - no small feat - competing with the sounds of BRÖTZMANN's guitar.
The Tribe and Black Axis were still if very loosely rooted in some kind of heavy rock. Der Abend Der Schwarzen Folklore erases these residues from their genetic make-up, evolving into a free-form noise, strangely motionless like an earthquake rumble, that sounded like nothing else at the time. The opening title song gives the best example with its densely shifting chunk of howling and screaming guitar shreds and grimly determined rumbles from the bass, accented by heavy single beats or massively rattling, yet transparent outbursts from the drums. An impenetrable sense of threat fills the sound, interrupted only by breaks of skinny brooding, giving way to BRÖTZMANN's throaty growl evoking a lonely march through hostile wastelands under flaming sunsets. Culminating in an archaic choir chanting about black walls rising - a monstrous cloud of thick high-voltage tension.
BRÖTZMANN speaks of the heavy nature of the lyrics, inspired by 19th century artist Caspar David Friedrich's painting "Das Eismeer," translated to "the sea of ice," which depicts a shipwreck the icy shores of Antarctica. It deals, of course, with ideas of the sublime in nature - but also "the end of hope," as the painting was known until the sixties. And indeed, BRÖTZMANN credits his dark and brooding sounds to the uneasy times. With the wall down, the Eastern Block broken, East and West Germany were politically united but emotionally didn't share much more than a certain angst and uneasiness with respect to the future, which erupted in ugly right-wing riots and violence. BRÖTZMANN felt the rise of a black folklore that he wanted to address, though he never admitted to it at the time because, he said, he didn't want to sound like, "some naive romantic," not underestimating the music's gothic values; a weird idea, once you've listened to Der Abend Der Schwarzen.
Koksofen (which translates to "blast furnace"), originally released in 1993, has become one of MASSAKER's most popular albums. Like its predecessor, Der Abend Der Schwarzen Folklore, the album took shape in MASSAKER's rehearsal room below the Berlin subway station Schlesisches Tor, and was recorded at Conny Plank's studio near Cologne, with Plank's former associates Ingo Krauss and Bruno Gephard producing.
There's a different kind of intensity to Koksofen. The features of MASSAKER's sound are in full bloom. Mountainous noises tower up and crash down, and tormented sounds rise from ominously seething grounds, haunting the entire songscape. The feel of doom and dread hangs heavily over the five songs, and the title song rumbles, shrieks and wails, plagued by BRÖTZMANN's guttural growls of war, suffering, and death.
BRÖTZMANN recalls one anecdote from shortly after the original release whereby bassist Edu Delgado called him asking to turn on the TV, thus discovering that "Hymne" was being used as background music to a report about the death penalty in the US. A different kind of intensity indeed.
Reflecting on the album to this day BRÖTZMANN remarks "Koksofen is still a mystery to me.'' He continues, "I can still feel the troubled times in these songs." The effects are certainly potent for the listener too. And the album undoubtedly affirms MASSAKER as the fiercely original and compellingly raw musicians that they are.
D
deleted_53
Guest
Ich muss unbedingt nach Karlsruhe. Sunn Poo))) hin oder her.
kylie
Till Deaf Do Us Part
Ja, eigentlich muss ich da hin. Danke für den Hinweis!
Edgehead1910
Deaf Dealer
Habe mittlerweile die 2 neuen Reissues (Schwarze Folklore, Koksofen) gehört und muss wohl schauen ob ich es nach Köln schaffe. Die Daten mit Sunn sind ja so ne Solo/Bass Totem Geschichte wie ich gelesen habe. Köln ist ne Show mit voller Band.
30-07 DE Berlin @ Festsaal Kreuzberg *
31-07 DE Berlin @ Festsaal Kreuzberg *
07-10 DE Munich @ Backstage Werk *
08-10 DE Karlsruhe @ HfG / ZKM *
09-10 CH Basel @ Kaserne *
10-10 DE Leipzig @ Felsenkeller *
13-10 LT Vilnius @ Kablys *
14-10 EE Tallinn @ Vene Theatre *
15-10 FI Helsinki @ Kulttuuritalo *
05-11 DE Hamburg @ Hafenklang /
06-11 DE Koln @ MTC Club /
07-11 NL Utrecht @ Le Guess Who? /
08-11 UK London @ Oslo Club /
09-11 BE Brussels @ Atelier Claus /
* = Caspar Brotzmann Bass Totem (solo) performance
/ = Caspar Brotzmann Massaker (full band) performance
30-07 DE Berlin @ Festsaal Kreuzberg *
31-07 DE Berlin @ Festsaal Kreuzberg *
07-10 DE Munich @ Backstage Werk *
08-10 DE Karlsruhe @ HfG / ZKM *
09-10 CH Basel @ Kaserne *
10-10 DE Leipzig @ Felsenkeller *
13-10 LT Vilnius @ Kablys *
14-10 EE Tallinn @ Vene Theatre *
15-10 FI Helsinki @ Kulttuuritalo *
05-11 DE Hamburg @ Hafenklang /
06-11 DE Koln @ MTC Club /
07-11 NL Utrecht @ Le Guess Who? /
08-11 UK London @ Oslo Club /
09-11 BE Brussels @ Atelier Claus /
* = Caspar Brotzmann Bass Totem (solo) performance
/ = Caspar Brotzmann Massaker (full band) performance
D
deleted_53
Guest
Dann wohl eher Köln für mich.
Jenny Death
Till Deaf Do Us Part
Frage: Liegen den Southern-Lord-Reissues auf Vinyl eigentlich MP3-Downloadkarten bei?
Edgehead1910
Deaf Dealer
Nein leider nicht.
D
deleted_53
Guest
Stream "Hunter Song" HERE.
Southern Lord will release Home, the final installment in the CASPAR BRÖTZMANN MASSAKER series, on April 17th. The indelible trio continues to perform live, and CASPAR BRÖTZMANN, arguably one of the most unique and innovative guitarists of the last forty years, is exploring new solo material and will release his first solo album this year 2020.
Originally recorded in 1994 and released in 1995, Home is characterized by MASSAKER's ultra-refined riffs of shrieking, screeching feedback, and rattling machine gun staccatos. Exuding confidence, authority and a natural rapport that the musicians clearly had with one another. Certain songs from earlier records were revisited on Home including "The Tribe" and "Massaker" from The Tribe, and "Templehof," "Hunter Song," and "Böhmen" from Black Axis. These pieces had evolved following years of rethinking, rehearsing and reshaping them on stage, as well as playing with Danny Lommen, who had replaced Frank Neumeier on drums after Black Axis. These refined versions on Home raise the level of density and tension, the ominous evocations of impending doom, booming threat, and the grim determination that's always driven MASSAKER.
The 1994 recording of Home at the Steinschlag Studio (of FM Einheit) features CASPAR BRÖTZMANN on guitar with Danny Lommen on drums and Eduardo Delgado Lopez on bass.
Home will see release on CD, 2xLP, and digital formats through Southern Lord on April 17th. Stream "Hunter Song" where digital preorders are posted HERE and watch for additional news and physical preorders to post shortly.
Southern Lord will release Home, the final installment in the CASPAR BRÖTZMANN MASSAKER series, on April 17th. The indelible trio continues to perform live, and CASPAR BRÖTZMANN, arguably one of the most unique and innovative guitarists of the last forty years, is exploring new solo material and will release his first solo album this year 2020.
Originally recorded in 1994 and released in 1995, Home is characterized by MASSAKER's ultra-refined riffs of shrieking, screeching feedback, and rattling machine gun staccatos. Exuding confidence, authority and a natural rapport that the musicians clearly had with one another. Certain songs from earlier records were revisited on Home including "The Tribe" and "Massaker" from The Tribe, and "Templehof," "Hunter Song," and "Böhmen" from Black Axis. These pieces had evolved following years of rethinking, rehearsing and reshaping them on stage, as well as playing with Danny Lommen, who had replaced Frank Neumeier on drums after Black Axis. These refined versions on Home raise the level of density and tension, the ominous evocations of impending doom, booming threat, and the grim determination that's always driven MASSAKER.
The 1994 recording of Home at the Steinschlag Studio (of FM Einheit) features CASPAR BRÖTZMANN on guitar with Danny Lommen on drums and Eduardo Delgado Lopez on bass.
Home will see release on CD, 2xLP, and digital formats through Southern Lord on April 17th. Stream "Hunter Song" where digital preorders are posted HERE and watch for additional news and physical preorders to post shortly.
Nihilon
Till Deaf Do Us Part
WitheringHeights
Till Deaf Do Us Part
Heute gibt es alle VÖs von Caspar Brötzmann Massaker auf Southern Lord zum reduzierten Preis - und digital für nur 1+ €!
casparbrotzmannmassakersl.bandcamp.com
Caspar Brotzmann Massaker
Caspar Brotzmann Massaker. Germany.
casparbrotzmannmassakersl.bandcamp.com
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