Max Eilbacher

Max Eilbacher works with sound. That work materializes in a variety of forms; compositions, musical performances, conceptual systems, perceptual choreography, installations and theoretical sculpture. No matter how the final work may be categorized, the art typically utilizes speakers and sound waves. A frequent concern throughout the works is an inquiry into the inextricable and complex relationship between sound and experience. At each incident of sound, a phenomenologically abyss must be transversed. He is aware the listener is the agent taking such a leap. Composition (or whatever may be emanating from a speaker) is the practical enactment of such a leap.

Horse Lords

Horse Lords is an American avant-garde rock band from Baltimore. Formed in 2010, the group utilizes 20th century compositional methods mixed with a wide range of folk traditions to create music. The group has released records and toured extensively in North America and Europe. Max Eilbacher plays bass and electronics in the group.

Collaborative Ventures

is a vanity label launched in the fall 2020. Works are released in small batches, as cds, tapes, vinyl records, and expanded mediums. Released in small editions as a means of expressing my my thoughts on labor, composition, manufacturing, time and the value of art as digital files.

  • 165x165

    Press play, move further away from a haze of clustered overtones, and start learning how to negotiate notions of space. Here is one long study in pulses metered by symmetric and asymmetric sets of numbers. “165x165” is the result of wanting to explore the sensation of simple patterns made of complex geometric-like forms, repetition of these shapes, and trying to understand why the wall was placed so close to the bathtub. This work was made during the winter of 2020/2021. At the time I was studying sieves and set theory, learning to knit, and trying to keep warm/sane. I feel all of these activities are very present in the 35 minutes of audio.
    Recorded Late fall 2020-April 2021.
    Baltimore Maryland
    Mastered by Giuseppe Lelasi.
    Open the insert file of "165x165"
    Listen to excerpts from "165x165"

  • Beamforming a Temporary City

    BATC concerns materials and technologies not yet available. My use of such speculative engineering is concerned with the final product, an abstract sculpture, a functional building, or a sensory experience. It is also concerned with the disparate raw components that are synthesized together to create such a possible finished creation. The extraction, amalgamation, and transportation of these yet-unknown resources play a critical role in BATC. I started working on this transmission of theoretical architectural materials in the early days of March 2020. I worked manically on the piece as I adjusted to the new temporal and mental shifts brought on by Spring 2020. Laboring with the sonic mass I had accumulated was more an act of stress release than an enjoyable process of composing music. As much as I tried to manage the chaotic job site, I eventually abandoned the work. I found the dense material was unmanageable and unlistenable. 10 months later, I ran across the project folder when I was looking for source material to input into a new audio processing technique. With this new method of modulation, I could alter the pitch and timbre of a sound in an idiosyncratic manner. Working at the frame rate level, this method allowed me to stretch, modify, and transform an audio file in extremely subtle ways. With this type of processing, the mess I had walked away from slowly became the structure I had previously envisioned. The construction and transmission I was striving for could finally be achieved. 32 minutes of audio frame modulation and custom modal synthesis coalesce to form a dense yet simple aural glare.
    Recorded March 2020-April 2021
    Baltimore Maryland
    Mastered by Giuseppe Lelasi.
    Open the insert file of "Beamforming a Temporary City"
    Listen to excerpts from "Beamforming a Temporary City"

  • Sketches of Spetter!

    A collection of short works made with a custom synthesis method. These tracks represent 6 different exercises in sonic shape and dynamic outcome.
    Recorded July 2020 in a cabin in Franklin County Mass.
    Mastered by Giuseppe Lelasi.
    Listen to excerpts from "Sketches of Spetter!"

  • Repeating Crevice Revisited

    19 minutes and 42 seconds of processed and algorithmically pulsed percussion and electronics.
    Recorded April 2020 - Dec 2020 in a cabin in Franklin County Mass and Baltimore Maryland.
    Mastered by Giuseppe Lelasi.
    Listen to excerpts from "Repeating Crevice Revisited"

  • Bell Formations I-V

    51 minutes spread across 5 pieces. Constructed entirely of detuned and processed Orchestra bells. Made by Henry Birdsey and Max Eilbacher over a period of two years.
    Extreme detuning/retuning. A sonorous halo of shimmering, simmering, inescapable knells. Pointillistic metal partials affixed to one another as vibrating air.
    Henry Birdsey: Orchestra bells, processing, arrangement Max Eilbacher: Processing, arrangement
    Listen to excerpts from "Bell Formations I-V"


Sef III is a group concerned with performance, electronic music, the spoken word and science fiction. Composed of Alexander Moskos, Duncan Moore, and Max Eilbacher.

Emergent Structures

Emergent Structures is a generative sound project. Birch Cooper and Max Eilbacher create generative durational synthesis works. Emergent Structures is their way of documenting and sharing the outcome of their sonic systems.

Eilbacher / Moore

Max Eilbacher and Duncan Moore are sound and performance artists from Baltimore. Together they work to intertwine sounds,sights, and signs using movement and composition. They construct works for performers, lights, bodies in motion and sound. The outcomes of these constructs take the form of immersive sculptural performances and concise live compositions. Creating pieces where language and sound melt into an absurdity of existence.

Schofield / Eilbacher

An electronic music duo of Max Eilbacher and Ren Schofield.
“Announcing the first ever tour by the new duo of Max Eilbacher and Ren Schofield, two of America’s great young soundthinkers. Both emerged after the great Noise Recession of 09 with reet style...
Schofield is of course Container, who flipped a whole paradigm when he went from making crumbling basement vibe tape music to beatdown techno. He puts pierogi on pizza and is a food blogger.
Eilbacher, perhaps best known as the tonal anchor in the mighty Horselords’ rhythm section, is a sound artist, electroacoustic composer and audio designer, filmmaker and chef, thinker and a fruit beer drinker.
Schofield is from Providence RI and Eilbacher from Baltimore MD so to best imagine this tour, picture two seafood shacks w goggly eyes and happy mouths in a euro rental car hauling a maxmsp and a groovebox across that old continent, the whole tableau poorly photoshopped ads to the rightness. Make brain zap sounds over thunder drum and smacking-snares and audio completes the picture.
Anyhow, their duo promises to be one of the years most exciting assemblages. 1 part Eilbacher computer music complexity and one part Schofield beat-garngs.
Both have released work on Spectrum Spools, Eilbachers latest is available thru Purely Physical Teeny Tapes.”
-- Alex Moskos

Birdsey / Eilbacher
Perfect Lives

Commissioned by the electronic music group Matmos to reinterpret the video component of Robert Ashley’s opera “Perfect Lives.” Much inspiration and conceptual guides were drawn from the score and John Sanborn’s original work. In 2014, the two acts “The Park” and “The Backyard” were created. The work served as my undergrad thesis and as a live video accompaniment to the Matmos live act. In 2016, “The Bar” was remade for an extended European tour.

Ultimate Care 2 Excerpt Three

The source of 'Ultimate Care II' is the household washing machine of Matmos, Whirlpool's 'top loading, high efficiency washing system, with easy to use consoles, making it simple to select the wash/spin speed combination for each load.' The entire album was sourced by the duo's capturing, cutting, and manipulation of the sounds generated from the machine, allowing the sounds to have their own existence. The video echos this process, separating the machine from it's intended domestic position. An animated model of a washing machine is often shown as isolated, orbiting in a screen of black, while undergoing material transformation- it is a visual equivalency to acousmatic sound. The hard, white facade of the machine undergoes a material change, warping, melting, and bending at the inclination of body parts, bodies at work, captured from washing machine pornography. The domestic is work, just as sex is work, all inclusive in the industry of sterility.

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