CASPAR BRÖTZMANN MASSAKER

"The Tribe" re-issued on January 18th!

 Southern Lord is proud to announce the first in a series of Caspar Brötzmann Massaker album reissues starting with the masterful debut The Tribe (originally released in 1988) and second album Black Axis (originally released in 1989) - remastered and presented as they were when originally released.
 Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 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 30 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.
 About The Tribe...
 The Tribe was CBM's first album. Recorded at Jost Gebers‘ legendary jazz studio FMP in Berlin. To Gebers, who was far from being a fan of amplified music, Brötzmann recalls, Massaker‘s music sounded "honest".
 The iconic sleeve was designed by Caspar Brötzmann's father.
 Prior to this record, Caspar honed his craft as a solo artist opening for the likes of Nick Cave.
 Born in 1962 in a post-war divided Germany, Caspar Brötzmann started out playing the piano, his main inspirations included, Hanns Eisler, singer Ernst Busch, his mother’s “Hausmusik” (German tradition where the family gathers to play their instruments together), and also by the roaring sounds of his father, a virtuoso saxophonist aka “The Teutonic Axe“ - a key player in the European free jazz movement, Fluxus artist, and ideologically adamant communist.
 Caspar lived in fear and awe of his strict father, and he took to the guitar knowing that his father and his peers sneered at Americanised music, and especially electric guitars and the hard rock sounds that appealed to Caspar, the likes of Ritchie Blackmore, Jimmy Page, and Jimi Hendrix. The guitar became, Caspar says, “his shield against the unsettling world”. “It wasn’t about virtuosity” Caspar continues “rather the love of the instrument”. 
 Caspar didn’t have any formal training, but Hans Reichel - a family friend and an avant-garde guitarist who built his own instruments -  showed him the ropes. Hans taught Caspar how to manipulate the workings and mechanics of the guitar. Caspar’s left-handed instrument is less of a nod to left-handed Hendrix and more of a technical improvement to Caspar’s own playing, allowing for a stronger low end, better access to the volume control, and the vibrato bar, all of which gives CBM’s music an unparalleled dynamic range.

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