Boomkat Product Review:
Max Eilbacher sprouts wildly variegated blasts of intensive computer music process for Barcelona’s indomitable Anòmia
The sometime member of Horse Lords has been especially busy in the past 12 months, spraying his material between a GRM split with Lucy Railton, and the likes of Superpang and Ultraviolet Light, run from his native Baltimore, MD.
His eight helpings of digital scree and fractals in ‘Here A Peak, There An Abyss’ were recorded in 2017/18 using prebuilt VST synths, and pay homage to the paintings of French-Swiss architect, writer and deconstructivist Bernard Tschumi. Can’t say i’m familiar with Tschumi’s work, but a cursory look tells us that Eilbacher’s results sonically resemble the oblique masses and angularity of Tschumi’s architectural drawings to many extents, with some real hard nosed computer music fukkkery and frolics between the construction site drills and recursive blatz of ‘EAT’ and the lushly giddy dynamism of ‘CH003.’