Max Corbacho’s Moontribe is a heady collection of ethno-cyber-ambient rhythmic soundscapes that makes my blood race even while its darker elements cause the hairs on the back of my neck to stand up!

Hauntingly beautiful yet also shadowy and foreboding, the propulsive combination of ethnic beats with fractal and skitch rhythms on the opening “Suntribe” are buoyed by flowing washes of synthesizers. Obviously, comparisons can be made to either tribal or groove-oriented Roach recordings, but one could just as easily compare parts of this to psychetropic’s china radio sunshine. However, this is neither imitative nor derivative. The echoed booming effects that open “Out of Nothing” yield to kinetic fractal beats wedded to sensual primal rhythms (faint rainstick and rattle sounds surface now and then) along with a slurping sense of viscosity later in the track.

On the song “Distant Dwellings” the pulsing rhythms are unique, as least to my ears, consisting of bassy pulses and metallic skritches, which when mixed with ethereal high-pitched synths and low dronish chorales results in an imaginative propulsive trip across an alien landscape, teeming with a cybernetic lifestream coursing underneath you as you glide overhead. By the song’s end, though, the rhythms are gone, replaced by nocturnal sound effects and a flowing series of drones and washes. “Unknown Radiance” is a relatively rhythmless song, consisting of echoed animalistic sounds, heard as if from within a cave, along with deep slow washes of EM/spacemusic analog keyboards. “Across the Spectrum” returns the album to frenetic fractal/skitch beats as these are folded in slowly over the patient spacemusic textures. The beats eventually become pronounced and even oppressive (purposely), intermixed by what sounds like exhalations from an exhausted runner. The album concludes with the opus-length (nearly twenty minutes) title song, a slow excursion into dark soundscapes, a la Robert Rich from A Troubled Resting Place, although with a heavy dose of primal rhythms at its start, courtesy of more processed percussion on stone, stick, and hand drums. Percussion is deeply echoed and panned, so this song (if not the whole CD) would benefit from being played in a quiet dark room on a superb sound system. Most of this last track contains drifting mixtures of tones, drones, sounds, and alien effects in a miasma that both comforts the listener (somehow, Corbacho has instilled a sense of warmth in the music) and also creates a vague feeling of uneasiness. It all winds down slowly (maybe too slowly, as your patience may start to wear thin, although to the artist’s credit, he keeps things interesting even as the assorted elements evaporate one by one).

I’m sure people who have digested all of Steve Roach’s, vidnaObmana’s, and Robert Rich’s recordings could hear more similarities than I did on Moontribe, but I found the CD to be more than individualistic enough to keep me interested and entertained. I especially liked the blend of different percussion, beats, and rhythms that Corbacho used throughout the recording. Engineering is excellent, as mentioned above. For my money, while not as compelling as Terra Ambient’s The Gate, this album certainly deserves a spot on the same shelf. If darkly tinted ethno-tribal ambient, with some deep cosmos spacemusic thrown in for good measure, is your thing, Moontribe should prove to be a good purchase.

Bill Binkelman

WIND and WIRE

http://www.windandwire.com

Morpheus Music & The Mall Magazine

STYLE

Deep spacey ambience with powerful resonant beats. Moontribe consists of a series of confidently developed electro-atmospheres that slide past with velvet smoothness – clean synthetic sweeps and dense multilayered pads, embellished with mysterious bubbling effects and sonic turbulence. The percussive structures combine natural drums with electronic patterns in evolving cycles that are at times tribal, insistently mesmerising, then soft, dispersed to a trickle. When the beats drain away the inventive depth of Max’s electronic soundscaping is most apparent, luxurious rolling densities and luscious drones full of shifting aural strata

MOOD

The mood is mainly one of manipulated primitive rhythm and spacial ambiguity – ancient futuristic immersives, distant, yet touched with familiarity. The organic individuality of Max’s compositions stops the music from feeling cold or remote – rather a hypnotic warmth pervades everything, glowing sonic colour suffusing silky beds of ambient cloud.

ARTWORK

Water surface patterns with graphic enhancements fill all panels – on the front, vivid greens and blues ripple around pinks and bronze shades. Text on the external packaging is uncomplicated – only titles and basic information. Within we find an explanation of the project, a list of sound sources, thanks and contact details.

OVERALL

Moontribe is «a collection of previously not published tracks, destined originally to collaboration projects that finally did not see the light, plus two totally new pieces». This is Max Corbacho’s sixth CD and shows the composer to have developed an engrossing and mature sound – the final two pieces ‘Across The Spectrum’ and ‘Moontribe’ were written two years after the earlier pieces and betray a glorious absorbsion in texture and groove structure. The clarity and transparency of these tracks is a delight to the ear – pulling the listener into beguiling worlds of liquid reverberation and interwoven crystal impact.

WHO WILL LIKE THIS ALBUM

Moontribe is a CD for ambient lovers fond of electro-tribal beats and lush, polished soundscaping. With similarities to Na-Koja-Abad and Steve Roach’s rhythmic material.

Morpheus Music & The Mall Magazine

STYLE

Gliding ambient serenity with hypnotic hand drumming. Max Corbacho’s first CD drifts over the listener like soft sand and silk, weightless wafts and gossamer veils of synthetic tone rising and falling in delicate harmony. The tone is light and dreamy, floatational and airy – atmospheric rather than oceanic, skybound rather than subterranean. The percussive content is confined to the first four pieces – here gentle loops comprised of organic beats with an ethnic flavour roll round evenly, trance-inducing, repeating until a part of the fabric of the environment. As the album progresses the introspective nature of the music increases – the beautiful Erosion lulling and spacious leading into the final three beatless tracks. The shadows pull in somewhat toward the end, Vestiges opening with a twilight moodiness that seems to open into a clear night – the listener a solitary presence in a vast panorama.

ARTWORK

Desert scenery, blue skies and windswept grass patches support a huge red rockmass transported from elsewhere. The craggy surface is engraved with an enormous square spiral – a hint of tribal mystery, a futuristic symbol calling to the distant past. The rear cover holds another desert scene where track titles and credits sit in a lightened oblong panel. Inside a two page booklet opens out to extend the front cover photograph – track titles fading into the picture at the far left. The innermost panels are black and white – another desert, pale and drained forming a backdrop to an explanation of the project.

OVERALL

The artwork on Vestiges intentionally places the album in the desert ambient genre – a style that Max Corbacho develops with considerable skill. The album was produced, written, performed, recorded and mixed by Max Corbacho, at Max´s Studios in Sabadell (Barcelona) in 1998. Released on Freerecords, the CD consists of seven mid-length tracks around six to eight minutes each totalling 53 minutes 54 seconds in all. This album will appeal to anyone looking for something buoyant and expansive with tribal beats and smooth synthetic polish.