max is concerned with violence.  The punching through.  The inherent romance in such grand gestures.  The beauty of noise, and very loud sounds.  And very quiet sounds.  Their movement and their stillness.  Their space.

max is a composer and musician working with a combination of noise, feedback, and traditionally tonal sounds.  He has a fascination with the ability of these elements - and in particular the first two - to convey fractured and unconventional narratives.  He believes that there is an ability to convey both old and new emotive qualities with these inherently abstract sounds; that there is an unlimited potential to present, define, and redefine musical signifiers.  That is, a wall of noise and a major chord have equal potential for meaning.  This investigation is the driving force behind his compositions and performances.

This democracy of sounds can also be extended to the notion of democracy of technology.  max does indeed create work using interactive and sophisticated computer software and hardware, but he considers it one element of many, and sees no disconnect between the very old (analog and acoustic) and very new (digital) technologies interacting.  It also feeds into his love for the theatrical in musical performance - an answer to the consistent struggle of composers using computers to create their work.

Ultimately, it is these obstacles - be it technological, ideological, physical, or philosophical - that defines the compositional structure and conceptual motivation for max's work.