Max Cooper
About
Few have been so successful in interrogating and furthering the intersection between electronic music, visual art, technology and science in the past decade as Max Cooper. Working with close collaborators and large-scale institutions like the Barbican, Zaha Hadid Architects and Dolby Atmos, Cooper has developed a mixed-media approach to creation. Whether a walk-through light installations, groundbreaking use of 4D sound, or club-ready techno releases, Cooper’s output is a classic case of electronic exploration that makes use of available technology while referencing that which came before it, and does so in a human way.
What now drives the Belfast-born artist as he set out on a fresh cycle for his fourth studio album Yearning for the Infinite was to create a lasting human impression through technology and machinery. The project, which encompasses film and web media as well as Cooper’s typically lush and emotive style, arose through an invitation from the Barbican, asking Cooper to respond to their annual theme of “Life Rewired.” On the resultant LP Yearning for the Infinite, he continues to till the fertile land of “big chord progressions and micro-glitch detailing” that captivated listeners across previous albums Human, Emergence and One Hundred Billion Sparks. He then brings this to life via “really impactful storytelling through the medium of abstract visuals and audio,” as in the lineage of Cooper’s key influences Philip Glass and Chris Cunningham.
Synthesising his interests and presenting it in an accessible way that defies conventional format, Cooper explores concepts of emergence, identity and infinity to create an immersion of sound, vision and concept that can totally remove you from your normal experience of reality and put you somewhere new. At the core, Max Cooper’s mission as a musician, a DJ and an interdisciplinary artist is all about provoking a greater understanding. This is pushed to new depths on Yearning for the Infinite.
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