Greetings to all. Indalo is here again!!  Waiting for all the new music to be revealed, and for those who have asked for the relaunch of Indalo for a long time, the digital edition is now available here in my Bandcamp store. In the coming days, it will be launched on all digital portals, Spotify, and all other Streaming services.
Indalo is a record taken from an old collaboration with my friend and composer Bruno Sanfilippo. Released in 2003 as a CD, for several years this work has been unavailable in any format, both digital and physical, in spite of being habitual in the schedules of radio stations like Heart of Space, Star’s End and others. After continuing receiving many requests from fans during all this time, and in response to this demand, Indalo will be available as a digital release through maxcorbacho.com. To further improve the experience and rediscovery of this work, two unreleased tracks have been  added to the original seven in the Bandcamp download. These two tracks were created during the year 2002 and presented as candidates to appear on the album. In the end, they were not selected and have remained hidden all these years. Today, I think the addition of these two forgotten tracks add interest to a work that many of my new followers do not know, but I think they will like it. The album, by express wish of Bruno, is credited only and definitely as a solo album by Max Corbacho in a new and redesigned cover art. Hope all you enjoy this music. Order the Digital Download direct from Bandcamp.
This is all for now, please keep in touch, I hope to send you more news soon!

All the best,
Max Corbacho

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.

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.»