NNA happily presents the latest work from the young Baltimore sound artist Max Eilbacher. Perhaps best known for his work as a bassist with polyrhythmic Krautrockers Horse Lords, as well as the Drainolith live band, Eilbacher has foremost been working for many years in the realm of experimental electronic music. Using self-built systems of modular synthesizers in conjunction with computer music techniques, Eilbacher has created a highly original and personal style of abstract music, as made evident through his brilliant full-lengths of the past few years, including works such as Red Anxiety Tracers (Spectrum Spools) and Subtle Scatter (Fogged). NNA Tapes is now proud to offer Eilbacher’s latest recording “Schizophrenia As Architecture”.
The four pieces that comprise “Schizophrenia As Architecture” utilize an almost overwhelmingly wide variety of sound sources and techniques in order to create concrète sound worlds with an incredible amount of depth and movement. Constantly shifting, it almost seems as if no two sounds repeat themselves, tirelessly building as the piece unfolds. This compositional restlessness is highly welcomed, as it succeeds in creating a kinetic intensity that often builds to levels of boiling, bubbling insanity that border on the maniacal and absurd, but are anchored by high brow musicianship. Electro-acoustics and field recordings are integrated and layered with such surgeon-like precision that it becomes nearly impossible to distinguish what is ‘electro’ or what is ‘acoustic’ in origin. This technique also produces an unbelievably textured listening experience that tickles and massages the brain, producing high levels of sonic physicality that almost transcend a mere listening experience, becoming an increasingly physical one as the piece moves on. Eilbacher’s personal experience with computer animation and 3D rendering become evident here, creating tactile sensations that seem to reinforce the role of musician as sculptor.
Perhaps the most exciting thing about Eilbacher’s music is his seemingly limitless palette – there is no trace of conceptual limitations, analog vs. digital pretension, or any self-imposed borders – nothing is off limits, even the kitchen sink. Spoken word, sound poetry, field recording, object manipulation, fm synthesis, and digital processing are all eagerly thrown into the fray. The elements of this liberation are bound together by Eilbacher’s greatest strength – his vivid imagination, which succeeds in establishing an original, creative voice that pushes sound abstraction further into uncharted territory.