Max Corbacho

by eyes cast down on April 28, 2011

I think Max Corbacho is driven by a love of life’s great mysteries. His music is fully informed and animated by this, by (as I’m hearing it) a quest for something transcendent, something far beyond our conventional, mundane states of being. I believe that, in this respect, Max is a kindred spirit to Lucette Bourdin, whom I recently featured here. In its feeling of reverence, its quest for purity, Max’s music often reminds me of Steve Roach’s magnus opus, Mystic Chords & Sacred Spaces.

Max recently re-released his second album, Far Beyond the Immobile Point, originally released in 2000. Two key features of this new, remastered version are (1) Max was able to segue all the tracks together, so we get to enjoy it as an unbroken flow, and (2) two bonus tracks. This all-synth, beatless, deep-ambient album now includes nine pieces, totaling nearly 75 minutes.

Any one of Max’s albums is evidence enough of his talent, commitment and maturity as an artist. Even this early in his career, Max’s sound-sculpting skills are clear, and goosebump-exciting to hear.

Primigenial Frontier is an ideal opener, capturing the entire album’s essence. It’s far away and vast, soothing and chilling. Everything is strangely illuminated, deep and still. A boundless intelligence, patient and probing, is suggested. “Primigenial” means firstborn, original, primary – and this feels just like that. We’re on the threshold of the unknown (and perhaps unknowable). It’s not even drift – this is a mesmerizing standstill. “Tantalizing” is the best word I can conjure for it. One just wants to behold this, with no need to move or look elsewhere.

Our journey proceeds through the unnerving, yet tempting Predawn Darkness, with its ominous, tectonic roars, to The Threshold, which can be a gateway to whatever the listener dares. Mystery, knowledge and the great power that comes with it, are all beckoning.

Soundless Sign is enigmatic and still, a mystic vision of expansion and depth. The bass sounds like our frame of reference dropping off below, as spacetime flies away from us in all directions.

This all brings us to the title track, by far the album’s longest piece at over 23 minutes. A wonderful glassy, shimmering and chiming, over a thrilling depth. Glorious, luminous chords slowly flying past. We have travelled a long way – where are we? Look within for the answer.

Delightful bursts of living light dispel the murk; exhilarating and sobering. There is so much we don’t know and cannot know, so much we can’t even imagine, but how can that matter when we are given so much? Our vision – our sense of what is possible, despite so much unknowable – is expanding. The final few minutes settle us right here, in an unimaginable fertile vastness, as we reconcile with that unknown.

The two bonus tracks, which conclude the album, both have striking titles. Ancient Transition instills a sense of eons past. What changed, and what of the ancient ways was lost in transition? Hundred Miles of Emptiness is calm, but not serene – still, but foreboding. Mysteries remain, and there is no presumption of answers here.

Far Beyond the Immobile Point is thrilling, ecstatic, beautiful and joyous to hear.  Highly recommended!

Bert Strolember, Sonicimmersion

This is the second release of Spanish composer Max Corbacho, presenting a collection of seven non-rhythmic, highly atmospheric ambient space tracks, so taking a different road than was heard on his nice debut «Vestiges».

The inspiration for «Far beyond the Immobile Point» actually came from the first chapter of Umberto Eco´s novel «Foucault’s Pendulum». Eco’s poetical vision of the universe presented in his work inspired Max to do a much more introspective and contemplative work. The music breaths far more abstraction and the lack of rhythm and percussion reinforced his vision of remoteness in the universe.

Overall, the quiet, slowly expanding and flowing music breaths a beautiful sense of darkness but remains accessible all the way.
«Invisible Jewel» is of a lighter nature and is strong piece of harmonious textural spacescapes drifting by.
The album, which is especially suitable as night music, concludes with the 20-minute title track, a great floating tour-de-force into the grandness and serenity of the cosmos surrounding us.

Recommended, especially for fans of Steve Roach.

P.S. In March 2011, «Far Beyond the Immobile Point» was re-released as a digital download, which included two unreleased bonus tracks («Ancient Transition» and «Hundred Miles of Emptiness») recorded at the same time of the intial recording of the album. In addition, all gaps between the tracks have been fixed, resulting in a seamless atmospheric ambient experience as originally intended by the composer.

How are you? Who is Max Corbacho? How did you become an ambient artist?

Max Corbacho is simply a human being. The question of who I am is the fundamental question of our life. We are here to remember who we are. So, I’m on it! My relationship with ambient music, began when I heard the great pioneers in the genre such as Steve Roach, Robert Rich and Vidna Obmana., among others.

 How is music important in your life?

Music is a form of expression closer to me. In fact any artistic expression, it is. However, the music contains the essence of all and above all, has the ability to introduce us to the great and ineffable mystery of our existence as any other.

Your music induces very spiritual experiences. What emotions do you want to share with your music?

I would like to convey the feeling that everything is within us. The entire universe is hidden deep in there. Often we spend our lives complaining about everything that happens in the world but nobody want to change anything in ourselves. Is the approach we have followed since man is man. Changing everything around us. But we continue like 40,000 years ago. We have gone through thousands of revolutions, wars and conflicts. But we continue like 40,000 years ago. Change, first, ourselves. It is the key. If you change, the world changes. There is only one revolution possible, the Individual Revolution. The world is a reflection of ourselves.

I hope in the emergence of a new global consciousness from the belief that all, are one. Everything is connected.

 Where do you get inspiration? Which artists did influence your music?

The inspiration is so volatile that it is difficult to answer this question. Sometimes you must, stay one night in the desert to find it, climb a mountain, and others, comes as you wash the dishes. The question is, why come to us when we are in the desert one night? Well, because at that time, we are ourselves, with nothing, free from the tyranny of our thoughts (which, coincidentally, always refer to past or future, ever, to present). It is in the absence of such a tyranny that we are ourselves. And we are free to create. We must remain at the present moment, minute by minute. The inspiration will be with us. Climbing a mountain or doing the dishes.

There are many artists that influence my music. But fundamentally, on the classical side, Bach, Debussy, Stravinsky and all symphonists of the 20th century.

In the field of jazz, of course Miles Davis, and all masters of the genre.

In electronic music, the great German pioneers, Klaus Shulze, Tangerine Dream, and in the ambient – space music, Steve Roach, Robert Rich, Vidna Obmana and Michael Stearns.

 Let´s take a look on your music. You´ve released 9 albums. Which one do you like most? Which one is most important for you and why?

Well, to be honest, I think the work that has made me reach a large number of fans, is «The Talisman». I think not because it is better or worse than others but because, somehow, was an album that all my listeners were waiting, and hit an incredible way with the public.

Recently, your new album Ars Lucis was released. Together with it, your two older albums The Resonant Memory Of Earth and BreathStream were rereleased on CD. Can you tell us shortly about each one of your re-release?

Yes, BreathStream first was released as a digital download-only delivery, at full CD quality through Musiczeit. But during one year, I received many emails from listeners who, I confess, like me, love the physical format, and complaining about the inability to achieve BreathStream on CD. That claim made me decide to edit them in CD format.

 And on «The Resonant Memory of Earth», is one of my old works in Space for Music and out of stock. He continued to have high demand, so, too, have made a reissue on our label, ad21music. This time, remastered in 24 bit and with some changes to the artwork.

What is your relationship to eastern spiritual techniques like yoga or meditation in it´s many variants?

Yes, for years I practice yoga and meditation. Thousands of years ago that this knowledge is there, as the only way to free ourselves from our ego, and get to be ourselves. I am an avid reader of Eastern philosophies, but do not stay in the simple reading, because they are only the finger pointing to the moon, not the moon. To make this wisdom, penetrate within, we must practice.

Which synthetizers do you prefer? Do you like pure analog sound, or do you use also digital and software tools and instruments?

I confess that I never had an analog synthesizer. But yes, I have one of that called Analog Modeling, for example, my Korg Z1. I’ve never been an analog purist, I do not like fundamentalism. Surely if ever falls into my hands on a Yamaha CS80 will not say No! I love them! but has not given the opportunity and, frankly, I know friends who have sold them because they are not easy to maintain. My current setup consists of:

• – Korg Triton Extreme
• – Korg Triton (Classic)
• – Korg Z1 expanded
• – Novation Supernova
• – Soundcraft Mixer
• – Lexicon PCM 80 reverb

 And an assortment of software sequencers and plug-ins. Most of my music is based on my hardware synths. Although I’ve tried, I could not get comfortable with software synthesizers. I’m an old man!

 What are your future plans?

Always continue creating music. It is my vehicle of life. I hope to have this opportunity for very long time. Currently collects new techniques in composition, harmony, and at the level of editing sounds on synthesizers, samplers, etc. Always investigate before starting a new project. I like to offer new things, but always in my style.

Paul Rijkens, E-dition magazine

The Spaniard Max Corbacho is a master in creating atmospheres. It is not the first time that I have put my admiration for his music in writing, for «The Talisman» this will not be different. Stronger: in my opinion with this album he has created his best work until now. Armed with modern synthesizers like Korg Triton and Z1, he makes wonderful stretched sounds that together form a magnificent moody image. But the music absolutely not sounds if he uses the presets from these instruments. The cd has eleven tracks but they all flow into each other in an intriguing way. Corbacho’s sounds are warm, intense, deep but also accessible. Actually, he goes further where Steve Roach, apparently a great example, has started long ago. It sounds like a text of an advertisement or tearsheet but I can’t help it because you must undergo this music like a warm glow. Tracks like «Reborn To Expansion», «Three Circles», «The Talisman» (especially this one) and «Cellular Memory» are absolute masterpieces in this ambient/space-area.

For me personally the music of Max Corbacho is the absolute top in this genre at this moment.
It seems a pleasure for me to see this man live some time.

Paul Rijkens

Ambient Soundscapes from Spain: an interview with Max Corbacho

Max, what were your first steps in music…. how did you get involved in electronic music?

During a long time, my first favorite groups were the big dinosaurs of the symphonic rock, Pink Floyd, Yes, Kansas, Genesis… and kindred bands. Besides, I felt a growing need to do this music myself. I bought my first instrument in those days, a Spanish guitar, which was followed by an acoustic guitar and then an electric one. For some years I played the electric guitar in several rock bands. Little by little, my love for the guitar began to calm down as my interest moved to other types of music, especially the ancient music, baroque in particular. I also began to listen to the classic artists of EM such as Vangelis, Tangerine Dream and some Americans like Richard Burmer. One night as I was visiting the house of a couple of friends, I found a cd with a beautiful photography of the American desert among their discs. I’d always liked those places, I usually visit them in Spain. I played the disc and in seconds I felt like «this is what I’ve always looked for and I’ve just found it». That was the first time I heard the music Steve Roach, Michael Stearns and Kevin Braheny and the cd «Desert Solitaire». To me it was my start in the electronic music…

How would you describe your music? Some called you «the Spanish Steve Roach» after they heard you first album….

I think that my music rises out of a desire to recreate what happens in nature, the endless source of visual and sonic richness. I try to figure out the mystery that makes us admire the beauty of natural surroundings, its simplicity, mystery of repetition etc.

I try «to amplify» the sounds, the textures of natural environments in the space and in the imagination, to discover zones that though they exist, they are not evident at first.

Thus, I don’t try to imitate real sound landscapes, my intention is rather to produce events, textures and phrases that are analogous in the richness of possibilities and variety of shades. I also intend to transmit that organic richness, the same emotion, reverence and passion that I feel for life, the world, the people…

Yes, some people call me the Spanish Steve Roach, but I honestly believe that Roach’s quality is so big and unique, of such impact in the music of our days, that any comparison is useless. His influence is evident in my music and in that of thousands of artists in the whole world. I hope to continue learning from him for many more years.

Can you tell us something about each of you albums, how they were made, what concepts you had in mind…

I made my debut «Vestiges», with few resources but a lot of patience. As a declaration of principles, I formed my musical direction with it: atmospheric environmental sounds with driving electronic percussion.

It was privately produced and stayed unnoticed for more than a year, until Cliff Tuell (Steve Roach’s webmaster) accidentally entered my web site and listened to the audio clips. From there on, and due to the positive comments of fans in the US I began selling my cds. My second album, «Far Beyond The Immobile Point», was an attempt to find another occult face of my music. It would have been easier to do compose another «Vestiges», which would have sold even better for sure, but I decided the new album should be something completely different. «Far Beyond … » was inspired by the first chapter of Umberto Eco’s novel «Foucault’s Pendulum». Eco’s poetical vision of the universe presented in his work inspired me to do a much more introspective and contemplative work. The music breaths far more abstraction and the lack of rhythm and percussion reinforced my vision of remoteness in the universe.

With «The Resonant Memory of Earth», I returned to the basics of «Vestiges». My passion for natural, desolate and remote places always inspired me. With a succession of quiet sounds and harmonies I recreated my feelings on these environments. It was a very emotive work for me, it coincided with a journey to the Sahara desert in Morocco where I explored the corners of my mind in search of answers.

«Nocturnal Emanations» was a new exploration of dark and desolate territories. Here, the magic mutation of the natural forms inspired my synthesizer grooves and sequences It was a new form of composition that I had never tried and that I’m still exploring. I began to generate a series of sounds obtained from field recordings, samples, etc. From then on, I started to morph all the sounds that, as seeds, were growing and transforming into something totally different, though preserving the characteristics of the initial seed. The grooves were treated in the same way.

«Indalo» was the first work with my friend Bruno Sanfilippo. He had just come from Argentina and that was the moment we met. We traveled together to Almeria, the desert south of Spain. The place astonished us and we decided to do something to reflect its nude beauty. I believe this disc is probably the darkest of my career, but it has a supernatural beauty.

And finally there’s my last work «Moontribe», a collection of both new and past pieces. Perhaps it’s here where I have developed more deeply my passion for morphing groovescapes and the surrounding atmospheres. It has coincided with the arrival of new equipment into, and it can be considered as a disc of transition, probably of what is forthcoming.

In this work I basically present a few compositions that were intended for collaborations. These collaborations were not produced due to different reasons, but one day, revising my tracks, I decided to use them in my new project. Fortunately everything began to take form and I completed it with adding three new pieces. I am very satisfied with the final result, especially its variety and richness.

Do you set yourself certain goals when composing new music or putting together an album?

Yes, I always try to improve and explore new ways in every new work. The artistic creation is a mental state that makes us feel life in all its intensity, but to come to this mental state everything must flow calmly. I practically try to revive all my experiences lived up to the moment, the ideas then flow and the mystery of the creation takes place.

How did you meet Bruno Sanfilippo?

When Bruno arrived at Spain, he contacted a record company in Barcelona to distribute his music in Spain. There he heard about me as it was the label where I had edited «Vestiges». We met each other and we decided to join our efforts in the diffusion of our respective careers. A great friendship was born out of this professional relationship.

What made you both decide to start your own record company ad21 music? How’s the company doing so far?

Releasing not dance-oriented electronic music is really complex nowadays. The distribution channels are rather complicated and sometimes you lose the control on what you do because there are few economic resources. The big record companies do not have this problem (though they have others), they count with a great structure and they work as refined companies where everything, even the smallest detail, is under control. This is not what generally happens in the small record companies, where the artist is inevitable damaged in the end. Today, private release seems to be one of the few alternatives that’s left for us. Furthermore, the internet and the piracy have changed the concept of releasing and selling music. We are in a deep moment of change and a classic conception of a record company does not work in these days. However, Bruno and I decide to start this venture; it is not easy due to the infinite details one must bear in mind. We’ve edited «Indalo», Bruno´s «Ad Libitum» and my own album «Moontribe» under our record label «ad21music». In all it was quiet exhausting since the three cds appeared at the same time. But, looking back on it, it’s an experience that was worth the effort. We will try to continue releasing our music through our label, but we will also consider releasing music of other musicians. The contact is always interesting and besides, every company record has its particular network that provides a general idea of the market.

What contacts do you have with other e-musicians? Is there anyone you’d like to work together sometime?

I usually contact many artists to exchange opinions and trade our cds. I remember one of the first was Jeff Pearce; I had edited «Vestiges» and he kindly commented the curious coincidence that the name of one of his disks was also «Vestiges». We exchanged our same titled cds and I discovered a great artist. Until then, I had never heard about him or his music. There were many other artists after him. We have even started a collaboration with Amir Baghiri; it’s on hold for the moment but it will probably come out some day.

I also have close contacts with musicians of the Barcelona scene, such as Dom F. Scab, John Lakveet, Odracir Lavid, Sergio Koval, etc. No doubt I’d like to work with many other artists, especially with the followers of the «Californian» school that I feel stylistically closer to.

Max, what’s your opinion about today’s electronic ambient music, how do you think it will develop?

There are two questions to analyze here: the artistic and the commercial one. Artistically, we are living a great moment, there are loads of artists doing big works and this is a good thing. The genre is evolving towards new forms and new ideas are born every day. Certainly, the technology encourages this bloom.

The other issue, the commercial one, seems to move in the opposite direction. The enormous amount of new music, ambient, space, electronic, etc. and the almost total oblivion of big means of diffusion of this genre make it very difficult to survive to it. I visualize this as two big waves, two big cycles evolving very slowly and, in any moment, maybe will coincide in a point, since everything is a cycle. I believe we must be ready for the moment we might benefit from the cycle.

What musical plans do you have in mind for the near future?

Right now I’m working on two new works. One continues the Techno-Tribal wave of «Moontribe», with new grooves and soundworlds.

The second one is a project that is called «The Talisman». I have been working on it for two years and it will probably take its definitive form somewhere this year. There will be no percussion on this disc and it will be my more atmospheric work until now. Part of this material was heard at my recent concert in Barcelona with Bruno Sanfilippo. For that occasion the pieces were accompanied by grooves, but in their final version they will be purely atmospheric.

You just mentioned the recent concert with Bruno Sanfilippo last February. Was this your first live-concert, how did things work out? Did you make any recordings of it?

Actually I had performed live before and I knew the pressure and the nerves before a performance. This was my first performance as an electronic musician and I’m quite satisfied with the outcome. Part of the success was due to having shared the work with my friend Bruno Sanfilippo.

In addition to this, we have relied on the collaboration of an excellent team of technical personnel, especially our visual effects technician did a great job.

All the pieces played at the concert were performed for the first time. Some of them are destined for new projects, others will be processed again to create new forms. Bruno and I first recreated the essence of «Indalo», our collaborative cd. Then each one has done a solo part with new tracks. We are planning to publish sound clips, video clips and photos of this event on our own web pages.

Website: www.maxcorbacho.com

Paul Rijkens, Dutch progressive rockmagazine iO Pages

On his records, Spaniard Max Corbacho follows the footsteps of the groundbreaking American ambientcomposer Steve Roach. He does this solo and in collaboration with somebody like Bruno Sanfilippo on the CD Indalo (look in iO Pages 54 for a review). The on CDR released Moontribe contains four tracks from the period 2000-2001 that not have seen the light earlier and two new pieces from 2003. Corbacho’s music is high-grade, intense and very relaxing. The tribal rhythms that know so well from Roach are present regularly, just as the most fantastic ambientsounds that are created with much care. These sounds form a warm bed as cover for the special rhythms. Unknown Radiance is a great example of this. Corbacho’s music is really of the biggest quality. Actually he goes further there where the music of Roach has become a little less good the last years. The unbelievable great and intriguing atmosphere of tracks like Across The Spectrum and the titletrack are of an unprecedented beauty that I consider masterpieces. In the genre this is the absolute top.

© 2004 – Paul Rijkens, Dutch progressive rockmagazine iO Pages.

Phil Derby / Electroambient Space

Although he has explored darker ambient before, as on the excellent Resonant Memory Of Earth, this time Spaniard Max Corbacho truly delves right into the source of things that go bump in the night – or in this case, drones that echo resonantly into caverns of infinity.

“A Spark of Deity” has crickets, low rumbles, restless churning, and all sorts of wondrous textures that reach out into the darkness. There is an undercurrent like slowly moving water, hints of noise that vaguely resemble percussion, otherwordly stuff. After this auspicious start comes the title track, bringing more remnants of dark memories, strands of dreams, images of caverns and precipices. This one floats a bit more, though dripping water or a shifting pebble occasionally become audible.

“The Slow and Wandering Dust” glides into sounds similar to Steve Roach’s fractal grooves – and a great groove it is. Bright shimmering synths float over the top, reminiscent of older Roach like Dreamtime Return perhaps. It rides the groove out for several minutes before settling down just a bit, though some semblance of rhythm continues to the end. The delicate floater “Abandoned Wind” is a beautiful counterpoint to those rhythms.

The deeply tribal “Along the Moonlit Rift” is another high point. “Deep, Ancient” says as it does, a sparse abstract selection that is yet another winner.
Dark ambient fans rejoice.

© 2004 Phil Derby / Electroambient Space

Phil Derby / Sequences Magazine

«Drawing on influences of the best of floating ambience, from Steve Roach to Robert Scott Thompson, Spaniard Max Corbacho places his own stamp on the genre with his second CD, a solid follow-up to his very good «Vestiges» CD. The tribal elements have been stripped away this time around, leaving a sparser, sometimes darker sonic landscape. From the high soft shimmers of «Primigenial Frontier» to the low rumblings of «Predawn Darkness,» the mood throughout is haunting and dramatic, yet serene and beautiful. «Predawn Darkness» in particular walks the tightrope between darkness and beauty quite admirably. Roach fans will at once think back to his epic, «The Magnificent Void.» The deep, low drones are first rate, and the feeling of expansiveness is palpable. «The Threshold» has a metallic character, almost but not quite shrill, with rich tonal qualities. An undercurrent of strange percolating noises really enhances the atmosphere. Not all is darkness and crevasses, however. «Invisible Jewell» has elegance and warmth, though it is still rooted firmly in ambient rather than new age realms. This is perfectly soothing, comparing favourably with Thompson’s excellent work, «The Silent Shore.» «The Great Sparkling Dome» is also a bit brighter in parts, but still tends toward minimal broad strokes of sound, becoming almost silent here and there. It is very calming and relaxing with just the right tinges of darkness. «Soundless Sign» is, as it implies, the quietest track, approaching soft stillness. Finally, the 20-minute title track wraps things up perfectly, slowly shifting and drifting to a sparkling, spacious conclusion.»

(2000 © Phil Derby / Sequences Magazine)

(2000 © Phil Derby / Sequences Magazine)