Seeing bands or musicians that you have loved since forever and then getting disappointed is a pretty tricky thing. Like all new Sonic Youth solo projects - Chelsea Light Moving, Body/Head, or Lee Ranaldo's new band. It almost seems like they want to destroy their own legacy.
So, seeing them twice before, I was psyched when I heard they will play again. I got my ticket quickly to avoid standing on the wrong side of a sold-out show. Hmm, but when I arrived Friday evening at Rosa-Luxenburg-Platz and heard only 100 tickets were sold I was really surprised. Strange, I thought, more people are interested in this band and opening act Robert Lippok. Seems like I'm always wrong with prognoses.
Anyway, I wannt to tell you about Caspar Brötzmann's latest band project Nohome. They played last Friday at Volksbühne. They formed as a improvisational trio for last year's A L'Arme Festival and played a mindblowing set. A couple of month later all three and FM Einheit (of Einstürzende Neubauten fame) recorded a live-album at Radialsystem - if you listen carefully can hear me going mental on that record. Together with drummer Michael Wertmüller and bass player Marino Piakas, Nohome is a heavy (sic!) more-Free Jazz-than-Rock (sicsic!) explosion.
So, seeing them twice before, I was psyched when I heard they will play again. I got my ticket quickly to avoid standing on the wrong side of a sold-out show. Hmm, but when I arrived Friday evening at Rosa-Luxenburg-Platz and heard only 100 tickets were sold I was really surprised. Strange, I thought, more people are interested in this band and opening act Robert Lippok. Seems like I'm always wrong with prognoses.
Robert Lippok, who founded electronic post rock trio To Rococo Rot in the early 90s in Berlin, played a solo set as opener. His set-up with a strangely installed bass looked very promising. Bouncing beats combined with dark electronic sounds could be good, but maybe I wasn't in the right mood or it wasn't that good. Can't decide. Don't get me wrong his 45 minutes set was probably a good opener and didn't hurt at all.
But I was there because of Caspar Brötzmann. His Caspar Brötzmann Massaker was the soundtrack of my rebellious adolescence. I hadn't heard such a unique guitar sound anywhere else. I'm a fan! He plays more with feedbacks than actual chords and creates thereby a haunting, loud and confusing sound.
