Caspar Brötzmann Massaker - Home (CD Southern Lord)
The Beatles once sang “It was twenty years ago today, Sergeant Pepper taught the band to play, They've been going in and out of style, But they're guaranteed to raise the smile, So may I introduce to you, The act you've known for all these years, Sergeant Pepper's Lonely Hearts Club Band.” This is the opening to one of the most iconic songs of all time. But I would like to change the words slightly. “It was twenty fives years ago today, Casper Brötzmann told the band to play, They’ve never gone out of style, Because they’re filled with determined guile, So may I re-introduce to you, The trio you’ve know years, Caspar Brötzmann Massaker”.
All joking aside, ‘Home’ by Caspar Brötzmann Massaker (CBM) was originally released 25 years ago and has been largely been unavailable everywhere since. Which is a shame, as ‘Home’ is the kind of album that stands as a testament to experimental music. The power trio on this recording was made up of virtuoso Caspar Brötzmann on guitar/vocals, Eduardo Delgado-Lopez on bass/vocals and Danny Arnold Lommen drums. The music they make has a power to it that literally explodes from the speakers. From the opening notes of ‘The Tribe’ if gets you in a headlock and does not let go until ‘Böhmen’ comes to its harrowing conclusion.
Effectively ‘Home’ is a compilation of songs from the albums ‘The Tribe’ and ‘Black Axis’. Just as Brötzmann is not your typical guitarist, this is not a typical comp. The give songs that make up ‘Home’ are extended re-compositions. The elongated phrases really give you an idea of what their live sets must have been like at the time. Instead of prolonged solos for the sake, and ego, of the guitarist these extended pieces actually bring something more out of the songs that was not originally there. While Brötzmann is the star of the show, Delgado-Lopez and Lommen are not just keeping time. On ‘The Tribe’ is a master class in noise and confusion. At times it sounds like an impregnable cacophony but once you peel back the surface noise, you find there are some exquisite motifs hiding in the gloaming.
As with the previous Southern Lord reissues of the Caspar Brötzmann Massaker back-catalogue, the recordings have been cleaned up bit a, but not enough to remove any of the visceral charm from them. These re-issues offer an insight into a sadly overlooked musical project. They show what a visionary talent Brötzmann as these recordings still offer a massive punch to the senses. This is something that should be played loud at home. NR.