Maximilian Hecker

Maximilian Hecker，一位来自德国的前乐队鼓手，是如何摆脱严谨僵硬的民族性，而将音乐做的如此伤感温柔？即使他不用晦涩的语言和复杂的配器来表达，那忧郁敏感又不乏神经质的唱腔和恰到好处的钢琴提琴伴奏已经足够，瞬间爆发的噪音和吉他失真已经足够。
他淡淡的唱着《Lady Sleep》，却用声音在无数个寂寞的深夜里一次又一次的谋杀了我的睡眠。
他的音乐跟他的面孔一样纯净无暇，用最柔弱的嗓音表达着他感伤唯美的体验。
古典韵味的钢琴、通透的假声、弥漫的稀薄情感、独特的曲式行进、偶尔肆虐的吉他失真和神经质的男声。
那是美丽的黑洞，我们早已在里面。
当这个男人的声音远远的向你走来，如刚刚哭过的孩子，睫毛湿润，表情安静,影子忧伤疏离，我想背身睡去,却感觉到他就在身边，在黑暗里扭开一盏柔和的灯，靠着我自言自语。
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