Maximilian Hecker，一位來自德國的前樂隊鼓手，是如何擺脫嚴(yán)謹僵硬的民族性，而將音樂做的如此傷感溫柔？即使他不用晦澀的語言和復(fù)雜的配器來表達，那憂郁敏感又不乏神經(jīng)質(zhì)的唱腔和恰到好處的鋼琴提琴伴奏已經(jīng)足夠，瞬間爆發(fā)的噪音和吉他失真已經(jīng)足夠。 他淡淡的唱著《Lady Sleep》，卻用聲音在無數(shù)個寂寞的深夜里一次又一次的謀殺了我的睡眠。 他的音樂跟他的面孔一樣純凈無暇，用最柔弱的嗓音表達著他感傷唯美的體驗。 古典韻味的鋼琴、通透的假聲、彌漫的稀薄情感、獨特的曲式行進、偶爾肆虐的吉他失真和神經(jīng)質(zhì)的男聲。 那是美麗的黑洞，我們早已在里面。 當(dāng)這個男人的聲音遠遠的向你走來，如剛剛哭過的孩子，睫毛濕潤，表情安靜,影子憂傷疏離，我想背身睡去,卻感覺到他就在身邊，在黑暗里扭開一盞柔和的燈，靠著我自言自語。 Wunderkind Maxi Hecker first began playing his breathy, polyester pop to an audience at the corners of the Hackesche Markt in Berlin. The young singer/songwriter would stand there with his guitar and amp in an attempt to woo women ten years older then him with beautiful "schweinepop" or "cheap pop." Hecker began his music career as a drummer for various rock bands, but discovered that the bands would not play his songs the way he intended. He soon set out on his own as a true musician of solitude, playing all the parts himself. After giving out about 30 copies of his demo to anyone who would indulge his romanticism, Hecker scored his first official release with the song "Cold Wind Blowing" on the soundtrack Alaska.de. His full-length debut, Infinite Love Songs, followed in 2001 on Kitty-Yo. The album, more suited to California beach bunnies than the industry of Berlin, established Hecker's position among pop Casanovas like Air and Momus