MUSIC Smooth, synthetic ambient zones. This is an album of immersive atmopheres without beat or melody, designed to set the listener adrift. Welling up like waves on the shore, washes of tone arise and roll one over another in constant succession - some deep and sonorous, some light, thin, others full of sonic detritus caught in the tide - percussive rattles like churning pebbles. Ever-receeding surges of sound drain back into the next wave. As the album pulls away from the shoreline the electronic ocean becomes dark and obscure in places, floating forms drifting by, heavy masses of tone heaving and pulling. Tracks blend one into another, the only indication of a progression usually being a lessening of intensity, a lightness as if surfacing momentarily. New tracks subtly intorduce fresh voices into the mix and some shifts of scale. ARTWORK Liquid ripples and solarised reflections fill two panels of the cover booklet in rich blues, turquoises, terracotta hues and dark shadows. The title text sitting in a heavy border of shadow near the base. On the reverse an ambiguous out of focus photo-image works as backdrop for the titles and an explanation of the project. Within we find a gear list, recording details and credits, some special thanks and contact information - this is presented on a white background with an accompanying monochrome reflection image. OVERALL For his third album, Max Corbacho presents four longform pieces ranging from just over six minutes to thirty eight minutes fifteen seconds. Designed for continuous playback - the tone is generally a serious one drifting somewhere in between warmth and cold. The concept behind the music is that of the "earth call" - what Max describes as "that feeling pulling us away from the cities to seek contact with the rock, the earth and water ...". A strong sense of space with something of the viscosity of liquid pervades this album - the listener is able to feel suspended in sound, surrounded in all directions, afloat, immersed. (Morpheus Music & The Mall Magazine) Bio notes: Max Corbacho is an independent artist born in the southwest of Spain, in the province of Badajoz. This enormous land sprinkled of oaks where he was born and he spent the first years of his life, is perhaps the deeper track than marks his music.Starred nights of summer, the caress of the nocturnal breeze and the sedative song of the crickets, immense horizons, deeply blue skies and silence. The music of Max is a constant reference to these elements, and continuously returns to uninhabited and mysterious places to catch those atmospheres, that are translated in sound by a fusion of techniques that go from the recording of natural sounds, programming of sounds in synthesizers and samplers, to the manipulation of all these elements in the computers. The result are extremely dense and hypnotic sonic landscapes. His musical trajectory began, after making guitar studies, in local rock bands and, after some years like electric guitar player, slowly become interested in electronic music. First with legendary bands like Tangerine Dream or musics such as Richard Burmer and Vangelis. Later, his influences include artists such as Brian Eno, Robert Rich, Steve Roach, Vidna Obmana, Alio Die, Michael Stearns. In 1999 his first work, "Vestiges" was produced. Soon the prestigious online store Backroads Music chose this album as one of the best of 2000, and "Vestiges" became one of the more highly praised Space-ambient CD´s around that time. "Vestiges" was considered a sincere, touching, powerful work, full of mystery. In the year 2000 Max published his second CD, "Far Beyond The Immobile Point", followed by "The Resonant Memory of Earth", published by the North American label "Space For Music". Further releases include "Nocturnal Emanations", "Indalo" and "Moontribe" - each one larger and more accomplished than the last. Max has also worked in close collaboration with Argentine musician (settled now in Barcelona) Bruno Sanfilippo, releasing a CD together and setting up the record label "ad21music". The latest album The Talisman is yet another step forward. Here the artist explains "I have tried to create all the songs of this work "inside" my synthesizers exclusively, inside this deeply isolated world, an amniotic-like innerspace that develops in the synth and multi-effects circuits, without insert any "external" element except for the voices in the first song. Also, I have experimented more and more with long, spacious reverbs and looping treatments ". Thus, the "oceanic" nature is strengthened, creating an atemporal quality, suspended in time and space, without rare elements disrupting the internal balance and natural flow of harmonic streams. No tempo, no synchronization, maybe only the breathing and the pulse of the artist.