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.

«Max Corbacho, the spanish artist who lives in Barcelona have been quietly working on a new release named «Nocturnal Emanations». well I can tell after some deep listening what a ‘great’ effort this is. A few years ago he surprised us with his strong debut ‘Vestiges’, followed by the glacial, massive and deep atmospherics on ‘Beyond the Immobile Point’ to the long outstretched simmering waves on ‘The Resonant Memory of Earth’, and now he just came around the corner with new inviting deep explorations which draws us back to what he has called ‘the Earthcall’. Always been fascinated and inspired by books, poetry (referring to the intriging lines in the booklet) and of course the beautiful Catalan landscapes of north Spain which has been also greatly influenced Salvador Dali’s works, he makes tremendously mature/mayor efforts on his 4 releases of which ‘Nocturnal Emanations’ is clearly his biggest leap forward. And I was so fortunate to have the first glimp on this very impressive release.

The opening piece ‘A spark of deity’ witnesses us, surrounded by beautiful and intriging use of field recordings, that something is about to come. Slowly from a far distance, thick swelling underground clouds are getting closer and growing bigger, obviously we just have passed our point of no-return.and the adventure starts. The title piece is bringing us to a safer and more comfortable place but we still have to look back over our shoulder. Slowly a pulsing tribal cyber groove gets through, dusty clouds bright twinkling light streams are reaching us and in the meanwhile the groove gets deeper and more powerful into the sublime space of ‘Abandoned wind’ hovering and floating gently around, a feeling of enlightning is reaching us.

Worth to mention again is Max’ use of (processed) fieldrecording, carefully blended with his atmospheres, contributes a rich openness and freshness -I would say- rarely heard. The 5th piece ‘Along the moonlight rift’ starts right off with a fantastic, incredible deep groove, more and more gliding layers of sound are coming in and set course to a powerful setting, the powerful meets the emotional, I guess a favorite space of many. Here, Max clearly shows what he’s capable of. This piece -like the title already suggests- has really the feeling of walking along a giant moonlit ‘rift’ under a huge clear starry night sky. very visceral indeed. From bright skys we step into a morphing and dusty space where -if we want to- ancient singing winds and erosions can be heard and felt, the rhythm here is slow but very intense, like it’s guiding your bloodflow. Speaking about fractal rhythms patterns, on the 7th piece, an elastic groove seems to dance it’s own way through thick fog banks, playing this one loud is an experience on it’s own. The last and probably my most favorite piece ‘Birthplace of the occult fire’ is leaving us in a place where life floats forever. just beautiful.

It’s obvious that Max has a perfect grasp on his machines and knows very well how to set his tone colours through the various stages. After many listening, still new structures and layers can be heard, the repeat mode is definitely a must here to feel Max’ -deep- shifting rides. Each of his disks has a distinct sound and feeling with strong desire and I feel that ‘Nocturnal Emanations’ is topping that. It has been some time ago that a record had such grip on me. I’m very sure that this disk will appeal to many of us. All I can say is; well, well done Max!»

– How did this collaboration between two musicians that on paper develop, if not antagonistic, at least different styles arise?

Max: Our first personal encounter was through Free Records, label where I edited my first CD Vestiges. When Bruno arrived to Spain they told him there was this crazy man who also made ‘special’ music for their label. We met and, personally, when I heard Bruno’s music and we talked about our passion for it, I knew we were soul mates. In the summer 2002 we made a trip to the south of Spain, to the supernatural and silent Natural Park of Cabo de Gata, in Almeria to be precise.

Bruno: We loved the place with its weird landscapes and all. We took pictures and audio samples of bugs and other curious things. Being marvelled with this place, we decided to create music that reflected how this place made us feel. The result was Indalo. It was an interesting fusion where we both moved away a little from our usual style, and that turned out to be a good thing, even nourishing!

– Listening to the song you include in MDEA vol. 8, under which lines did you decide to work together? Was there any previous planning or it came up improvising?

Max: There had been some improvising sessions and also an exchange of tracks that later on were treated and processed by each in his studio.

Bruno: Yes, both things have happened. I had never worked in this way. You brainstorm the ideas, like ‘splashing a canvas’, until, little by little, the work begins to shape up. When various ideas are presented we choose our next step. The truth is that you have a good time doing it and we enjoy the outcome. We like to think Indalo has elements from both of us

– Each of you are about t release new albums, in both of them you can clearly see an evolution in the sounds. Bruno’s music in Visualia is more and more luminous and environmental (except for the intro in part 5 that connects mysteriously and anthropologically with the Mexican Jorge Reyes or the American Steve Roach for example), while Max’s, in Nocturnal Emanations, deepens more in the cave like and earthly sounds. Lets just say that while Bruno is looking at the sky Max is looking at the depths of the planet and the thickest cosmos. I’d like you to comment, separately, on the motivations and changes in these new works, and insist on the fact of how you joined your strength in the same direction.

Max: I believe that these two works, Visualia and Nocturnal Emanations, are closer than between Bruno’s Suite Patagonia and my The Resonant Memory of Earth. Anyway, notice how in these two we talk about nature as the argumental base of the albums. In the new records, the approach is given by the use of the atmospheres and textures, we both bet closer to the ‘ambient’ concept. It is true that Bruno’s music has a ‘sacred’ component that invites us to look up to the sky –your appreciation seems accurate to me. And my music also tends to be cave like and earthly landscapes. But you should never forget there’s no earth without sky.

Bruno: I agree with Max. Besides, the album Indalo is our musical version of the volcanic atmosphere of Cape Gata and its strange beauty. It is also true that the colour of the sound changed but it is quite possible that every musician composes a work in relation to what he is living at that moment. It also lies in the huge ocean of its own memory. It seems to me that there’s nothing static, even less in our restless minds. As you can see, Max’s sound has evolved too. But anyway, there are artists who like to linger on known places.

– Bruno, Visualia is a very different to Suite Patagonia. The expansive character, almost movie-like, and the musical production of Suite Patagonia turns into a much more introspective record in Visualia, it’s less melodious and much more armonic with a minimalist character.

Bruno: It is pretty clear, basically, Suite Patagonia is more symphonic and poetical. On the other hand, in Viusalia I see the slow swirling ambience, it has other kind of depth. Let me see… I would say it’s an introspective CD, in a way I try to make the music awake those images that are hidden in our memory as if they were unconscious whispers. At least that’s from where I wrote it. But I still don’t know how people is going to react, it’s too new. The work may invite us to move to a timeless inner dimension, promoting the imagination and fantasy, I hope.

– There are great creations in Visualia, Visualia III for example. We are facing a visual, touchable and descriptive music. How do you develop that capacity to describe images, which are different for each listener, with music?

Bruno: Honestly, I’m really happy that you liked the album. Well, at least Visualia III looks like it. Thanks!

Each composition in the album is represented by an image by Janet Parke, an US artist that makes some drawings with very inspiring fractals. We sensed with Janet a very strong aesthetic bond between our works. But as you said, each listener makes his own visual trip. I don’t know how it happens. Of course, every artist is interested in the effect of their work, that his art provokes a certain emotional effect. Visualia contains interwoven pieces of a continual but almost imperceptible transformation. They appear, in different planes, countless sounds of organic texture that may create reminiscences of the earth and its inhabitants. I believe Visualia isn’t hard on the ears but I don’t believe it’s for listening it in the kitchen while you are making macaroons either.

-Max, you’ve always been labelled as the follower of advanced student of Steve Roach. Anyway, throughout your recordings you can clearly see your personal contributions to that sound that evolved form the American space to what it is today. From my point of view, your music is more lyric and organic than the one from the American master. They are very personal and hard to explain details but how would you explain your musical evolution from the arrogant Vestiges up to today?

Max: First of all, I’d like to thank the great American masters like Rich, Roach, etc because they showed to a whole new generation the way to the unexpected moment.

As regards my evolution, you can analyse it basically through two aspects. First, my personal, psychic growing as an individual evolution, and continual discovery of the surrounding world (trips, personal experiences, etc). I think this conditions me extraordinarily, and the growth and enrichment is translated into the music. Secondly, as son of the time I had to live in, technology pushes me to experiment and search for new roads and new frontiers to explore every day. I often have the feeling – I talk about this in Nocturnal Emanations script – that my music shifts as a live organism and, at this point, this evolution points to a greater abstraction, as if the elements of which it was made of at the beginning , as in Vestiges, were dissolving little by little, mixing and flowing really slowly, creating new structures and textures in an eternal mutation.

– Max, where would you say your music stands in a physical plane? In the cosmos, the depths of the earth, half way?

Max: In «Far Beyond the Immobile Point» I tried to recreate the poetical universe in which Umberto Eco situated his pendulum, in the remotest place of cosmos. Up to now that was my only incursion to ‘the space’. Now I stay half way. I’m interested in the earth as the scenery of my music. I have the constant need of escaping from the city and feel that surface. I prefer lonely places where the man doesn’t disturb the silence. Perhaps this is an echo from my early years which took place in a lonely farmhouse in Badajoz province. A place where time goes by slowly, where the view gets lost in the horizon and the word ‘space’ makes sense.

– You both are musicians that have always shown interest in the ethnic and tribal things. Bruno made that pretty clear in the master piece Suite Patagonia. And Max has always incorporated in his sounds chamanic percussion. Up to what point do you feel incorporated to the ethnical musical world?

Max: I’ve always felt an absolute fascination for the ancestral cultures and, of course, by its music. In Vestiges, as a declaration of principles, the first piece, Desolada, already presents those powerful ethnical percussion. I’m still investigating into that kind of music so as to enrich myself with all that wisdom and magic in involves. Now, I’m fascinated with the Bereber music. Recently, I was able to hear it live on a trip to Morocco. I was so impressed by it that I now have a fusion project with some of its elements. Due to the evolving process of evolution I was talking about earlier, that is the dissolution of the basic element that make up my music, also the percussion are more abstract every time. For example, the ones in Nocturnal Emanations are basically tribal grooves that have been conveniently treated so as to acquire a synthetic quality but keeping the root and ethnical character.

Bruno: I’m attracted by the idea of composing incorporating sounds of different cultures. I believe that the purity of its fragrance contributes with a strong emotional content. I also believe that part of its ‘visual’ things in my music has to do with that evoking to the sonorous origin of the man. I also use the timbric of the synthesiser trying to create an ocean of latent images. I’m convinced that the ‘sonoric psico-ambients’, so to name them, will be more developed in the future music.

– Is there something you would like to say apart from all the things I would have liked to ask but I didn’t have time to?

Max & Bruno: We just wanted to thank your interest in our music. Your questions have been interesting and pleasant to answer. I hope we can enjoy, for a long time, your prestigious magazine and its CDs.

Max Corbacho started a solo career in the Ambient scene of the nineties. His amazing music soon attracted a remarkable attention. His albums are full of daring ideas.

 How and when did your interest in music and your vocation as a composer begin?

«I began to get interested in music since I was very young, but it was listening to old records by bands from the 1970’s when I felt the need to create. On the whole, all the artists in that era fascinated me, from the legendary Pink Floyd to the most metallic Led Zeppelyn of their first years. I started in Rock bands as a guitarist… till in the early 1990’s I abandoned everything so as to create electronic music.»

Which is the process you usually follow to create a musical piece?

«I don’t have a definite «method», yet I certainly have experienced an evolution. Nowadays I use the sequencer less than I used to, I intend my themes to become freer with respect to their rhythm and tempo. Right now I divide my time into creating acoustic loops from outdoor recordings and in the studio, and the creation of rhythmic computer-generated grooves, and I then coverall that with layers of synthesizers and it receives the final treatment.»

Do you consider yourself to be linked to a given musical label in particular? Do you feel or have you ever felt influenced by other musicians in your artistic task?

«Certainly, yet I rather feel I am related to a current, rather than to a given label. Obviously, the influence of such musicians as Vidna Obmana, Robert Rich or Steve Roach is undeniable in my work, and therefore I feel quite close to all the American ambient space scenery,as well as its European representation with such people as Alio Die, Mattias Grassow, Amir Baghiri, Temps Perdu, etc.»

Which are your sources for inspiration when composing?

«Basically my travels, outings and excursions to places where I feel myself far from civilization: I was born and spent the early years of my childhood in a small «cortijo», a typical country household, in the province of Badajoz, and later I spent every summer there during the following years. Somehow my subconscious always wants to return to that place, and I continuously look for places far away from noise to spend my free time, to photograph them and somehow capture threir atmosphere.»

Can you comment on what role Umberto Eco’s literature played in your album «Far Beyond The Immobile Point»? What did you want to express in this album?

«It was the first chapter what wholly captivated me. The poetic vision of the universe Eco describes,

and the vision of the pendulum the main character has, as he imagines how strings hold it stretching into infinity, up to a remote place the imagines as the «immobile point», the place where it is anchored, and around which the entire universe revolves, inspired me profoundly.»

What led you to compose «The Resonant Memory of Earth»? Did you propose to create a work related to Earth from the beginning?

«Yes, in «The Resonant…..» I finish some paths I started in «Vestiges», and plan it as an analysis of my feelings, my sensations at the moment of finding myself in some lost place in the midsrt of nature. Actually, it is a question I meditate on, wondering why many people like myself pick this call, poetically referred to as «the resonating memory of Earth·, whereas others never have this need in all of their lives. I also need to contribute somehow to making many people aware as they do not realise the harm they do to the natural environment.»

Tell us about your relationship with Bruno Sanfilippo. Are you planning to release an album together? What do you think of his musical style?

«Bruno and I are preparing a CD together, that’s right. We have connected very well at a personal level, and we have just had a vacation together with our respective wives in the south of Spain. We have the project of giving concerts jointly in the near future and it even is possible that we create our own label. With respect to his musical style, I believe there are several surprises in store for his fans, and some of the traits that were suggested in «Suite Patagonia», such as the taste for ambiences and atmospheric music, are going to get a thoroughly important role in his future works.»

Can you comment something about the projects you are working on and your plans for the immediate future?

«Yes, basically, I am currently working on two new projects , one being on a «techno-tribal» wave, based on rhythms generated via computer, and another maybe somewhat darker, without percussion and in a way following in the wake of «Far Beyond The Immobile Point». Also, there is my collaboration with Bruno Sanfilippo, as well as another two projects, one with Amir Baghiri and the other with Ran Kirlian, a young musician from Valencia who appears to be very promising indeed, having several surprises in store, in the near future.»

  Reviewed by Sergio Vilar for Nucleus Magazine

In this opportunity, Nucleus, had the immense pleasure to talk with the Spanish musician Max Corbacho, one of the most interesting and innovative European artists signed up inside the Ambient / Space Rock. Let us know in this I dialogue the ideas, works and projects to a creator’s future whose work deserves to be discovered without more delay.

To begin Max you could give us an express summary of your career for people that doesn’t know you?

Of agreement. I began as so many other youths being interested in the big groups of the 70, and little by little I decided, together with some friends, to mount a band of Rock. My first instrument was the guitar, Spanish and electric. Later, quite later, by the middle of the 90, I began to be interested in the electronic music, especially for the North American scene. I bought a synthesizer and I was fascinated by their power. Starting from then one can say that my current musical stage begins.

Well, do let us speak of your influences who have been directly you the more ones in the musical plane?

In my new electronic stage, my biggest influences are Vidna Obmana, Steve Roach and Robert Rich. Previously they have influenced me mainly the big groups of the 70, mainly the Pink Floyd of the first stage… their videotape «Live at Pompeii» caused me a deep impression. I am also a great admirer of the old music, mainly centuries XVl, XVll and XVlll.

And what is inspired to the moment to compose?

The remote and lonely places, the night, and in general the big spaces. I believe that it could never compose an urban topic. The relationship that exists between my music and the natural means is indivisible. Continually I carry out exits and intent to get rich with the received sensations. I also use the natural means as an it orchestrates more, recording natural sounds and then processing them.

Starting from that elements go developing your music?

I try to look for new roads continually. Now I am experiencing with a form of totally free composition, sometimes aleatory, joining and mixing previously created and manipulated elements.

Which the concepts that contain your disks are?

Well, maybe «Vestiges» and «The Resonant Memory of Earth» shares the same concept. A North American reporter said once my music transported to a place that we all take inside, eternally swept by the wind. I keep that sensation. In «Far Beyond The Immobile Point», the concept was taken out of the first chapter of Umberto Echo’s novel, «The Pendulum of Foucault» whose imagination prolonged the rope that sustains the pendulum until the confines of the universe, in a place that he calls ·»the immobile point».

Since you made reference to your new disk, How sees «The Resonant Memory Of Earth» now, to little of having been published?

Musically, now, after some months, I reconcile with this work again.

When you finish a project you have listened to it thousands of times, and in this point loses the reference a little. I listened to it recently in my friend’s house Bruno Sanfilippo again it, and I feel satisfied of the carried out work. With this disk has wanted to finish some roads undertaken in «Vestiges».

Do I suppose that the visual aspect should play an important part to the moment to present your music on a scenario, not?

At the moment I have not begun with the concerts. It is a pending subject that for luck Bruno Sanfilippo and I are working, and we plan to share it to lean on mutually. Of course the visual aspect wants him to be primordial part of the show. We have several ideas that I wait we can materialize. The generation of images in real time, generated by software starting from the music, is one of my ideas. At the moment, we are collecting images of places visited to manipulate them and that they serve us as base.

Ambient, electronic, experimental… could you give us a definition of your music?

It is always difficult to label a work, sometimes in oneself disk different styles cohabit. but we all know that at the moment to define the style is fundamental in the current market. Basically, «Vestiges» and «The Resonant Memory of Earth» could be framed inside the panorama of the Space music, while «Far Beyond The Immobile Point» goes into in the field of the Ambient.

Going to another topic, How do you see to the current musical scene?

I believe that we attend an explosion of the electronic music of vanguard. They have never had so many unknown artists presenting disks continually. The musical computer science has revolutionized the artistic creation. I only wait that everything this offer belongs together with a great demand, that which I believe that to the long one he will come given by the incorporation of new markets, especially China and the countries of the East.

Previously, when we talked about your musical influences, you made reference to several really innovative creators inside the style. What do you say about the work of artists like Roedelius, Steve Roach, Vidna Obmana or Bruno Sanfilippo? What aspects do they approach you to them?

They are big creators, I believe that right now they move the market. It is so much their force that they go drawing the road continually, at least in the world of the ambient-space.

Bruno Sanfilippo it begins now a new stage, after its establishment in Barcelona. I admire their previous works a lot, in particular I admire their meticulousness, he is extremely a musician retailer. I believe that it will surprise their followers with an evolution of their music. We have a very narrow relationship at personal level, that which will help us a lot in our respective careers.

In that projects are working at the moment?

Well, in several at the same time. I prepare a CD with heaps of electro-tribal percussions, taking advantage of new technologies, that which I want that it serves as base in the future concerts. I also have several CD´s in completely environmental mind, without percussions. And now Bruno Sanfilippo and I will begin to exchange material for a future CD group.

Well Max, we would thank you some words for our I publish by way of closing.

Because to thank to all their interest, I wait that in little time it can present them new works and desire that the audition of my music contributes to the personal growth, and to the diffusion of aspects like the tolerance, the solidarity and the protection of the natural environment. A great greeting to all from Spain.

Chuck van Zyl Host: Star’s End http://www.starsend.org chuckv@starsend.org

«It is especially incumbent upon every spacemusician to know and understand the audience for which their music is produced. In this genre of aural impressionism and sonic expressionism it is the audience who completes each piece in the listening. On the cryptically entitled «Far Beyond TheImmobile Point», Max Corbacho invites the listener to make a personal interpretation of a tale told with contour, harmony and timbre and to gow here only music influenced contemplation can lead.Corbacho’s unfolding soundscapes tell of a «quiet point» beyond which the introspective traveller aspires to pass. At times the soundstream is a torrent of churning contrast while elsewhere it is a warm gentle wind. Whether influenced more by ocean current or desert breeze, that which is to be translated comes to us through Corbacho’s capable synth craft. Consisting of well arranged temporal pads, interestingly modulated synth accents and cavernous reverberation, the wealth and range of sound on «Far Beyond The Immobile Point» is surpassed only by the vivid translations made by open listeners.»

Paul Rijkens / E-dition magazine

«The second album from the Spaniard Max Corbacho is a so-called «DAM-CD». It contains the audio-tracks, a multimedia-section and MP3’s. His first one,»Vestiges», was a great ambient album in the style of Steve Roach. «Far Beyond The Immobile Point» goes even deeper, much deeper. The album contains no rhythms and is filled with very intense and sometimes rather dark andlong-stretched sounds. Great examples of this are «The Threshold» and»Soundless Sign» which, to me, sounds like a soundtrack for a movie about the prehistoric. To my opinion, the best track is «Invisible Jewell» which has some traces of the recent music of Robert Rich. The title track is with 20:13 minutes the longest piece on the CD. It follows the path of the other music but with some more drama to it. This is one of the best ambient/space-albums I’ve ever heard. «