Max Cooper - Kindred EP

Author CGNY
Mon 1 Dec 14
/ 5

Max Cooper’s Facebook page contains vicarious and humbling lessons on the inner workings of electronic music. Innate mathematical formulae, inherent to music and existence.

In the preamble for ‘Semiosis (170mb),’ a relation between intrinsic knowledge and alien concepts is acknowledged.

Recent releases ‘Human’ and ‘Inhuman,’ increment experimentation into pure sound.

‘Human’ is a continuation of deep arterial channels, auras absorbed suffuse with quantum integrity. The accessory ‘Inhuman’ is a cache of remixes, challenging the limits of solo-sapient inimitability.

Fresh material is extricated from the aether, the collective consciousness, the crucible of soul. The crux, ‘Kindred,’ is a new collation of musical talent. Free download


Redolent of the past. Jangling and kinky, scattered samples, disperse and sporadic. Sounds are reminiscent of the organic sounds of Bonobo, Caribou and Four Tet. Max Cooper’s credible bassline is like signature carved in stone. Mournful, soul chilling, soaring above and beyond, nesting itself at the tip of my spinal column, seeping shivers of wilderment.

‘Voyage Through The Analogue Womb’ contends with its human analog. The glitch drum assemblage sounds like skipping stones over crackling lava. Deep reverberating texture washes over the evolving pulse. Melodic progression is uplifting. Key changes linked, perceptibly. Flickering with formic, acidic electricity and filter resonance.

Approaching chaos, pressure builds. Too many elements to speak of.Similar to Nathan Fake, the composition may warp delicate sensibilities.

Richard Knox and Frederic Doberland – Sleeping Land (Max Cooper remix)

I subtly rise in the morning to tones of hazy recollection, sunlight warming my skin. A soft voice echoes, deep strings resound, legato, a lugubrious ambience. Electronic producers with live string tracks have credence to create veritable works of art.

The second act follows a scrappy enjambment. The clattered tones of tool room messiness, rifling through cabinets and drawers, reassembling and calibrating.

A secondary string track is added, supported by asynchronous drums and swells of bass. The drum pattern increases in rapidity, slithering lithely over dribbly synthesis.

My favourite track on ‘Kindred.’ Beautiful soprano evocation lauded by visceral violin / cello vibration.

‘Origins (Throwing Snow remix)’ is cold. A version where pots and pans sound more like stalactites and stalagmites jarring in aleatoric collision. Clattering drums flitter amongst the phenomena.

The deep bassline, has slow attack, the motion of a car false starting, kangarooing forwards with energy.

Dope bass drop lays substrate for two-step bass drum pattern supplanted by scrapes of icicle shards, the esoteric voix feminine. Celtic influence permeates the splintering rhythm.

It’s a cold track. Throwing Snow live up to the nym.

Origins (David August remix)

Long swooshes, flicks of tailing synth notes. A vibrant bassline and more natural sounding drums. A delay effect rapidly pulsates, panning a tight parabola.

The melody is easy on the ear, considerately filtered, no specific vitriol poured into it.

High pitch hisses of white noise, tearing about in strange patterns. A basic remix with straightforward sections, easier to contend with. The vocal is more twisted, blipped delays in a boomerang curve.

The track ends with full frequency kill, ascending gently into filtered bass power.


Max Cooper is playing a cornucopia of music in December.7th Dec - NEW YORK - Verboten


4th Dec - BOSTON - Middlesex Lounge

5th Dec - WASHINGTON DC - U Street Music Hall

6th Dec - MONTREAL - SAT

Review for CGNY by Alastair Schwarz

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