Sound Motives

I first came across Max Cooper around the time of his last album, One Hundred Billion Sparks. The lead single, Hope, defies simple categorisation, at once ethereal and ecclesiastical, and yet with the throbbing subs and high-end sizzle of a track designed for the dance-floor. The dance-floor never gets its drop, but instead ‘Hope’ unravels into a meditation on beauty, where minutes pass in a few quick breaths.When experienced with its accompanying video, ‘Hope’ acts a useful introduction to Max as an artist. He’s curious, always incorporating new ideas and concepts, whether they come from science or personal experience. He’s a collaborator, working with visual artists, not as a PR afterthought, but as a central pillar from which his work extends. And he’s not afraid, remaining true to his own path, regardless of how lonely that journey might be.  Even if his music were trash I’d respect the guy’s approach to creativity, but thankfully Max’s music flourishes in the fertile en