What does Max LL sound like?

Neoclassical cinematic melodies – often from around the globe.

The review of ‘In The Silence I Can Finally Hear’ by Max LL

Max LL’s latest album is his first personal album since 2018’s mesmerising ‘Golestan‘ – a personal favourite of mine. In the liner notes, the neoclassical composer, who often explores cultural instruments from around the globe, said this is his Pandemic album. In being locked down, Max LL realised that he had totally underestimated the importance of calm, quiet and immersion in nature was to his wellbeing and his craft. This led Max LL to rework how he created music. ‘In The Silence I Can Finally Hear’ is a documentation of that process and the need to capture the beauty of imperfection and vulnerability. The album does a mighty fine job of it.

The album kicks off with two beautifully airy and airbrushed orchestrations. ‘A Sudden Realization’ involves lavish trickles of piano notes like waterfalls. They emulate warning sounds but are wrapped up in pillowy strings and synths so they sound inviting. Melodic and elegant, it’s a beautiful and intriguing intro. ‘We Weathered the Night’ features the clarinet. The song weaves in callbacks to the ‘Golestan’ album with its Persian influences and motifs. Again, the bustling clouds of strings return, sounding numb and vast, like we’ve suffered a head trauma and our hearing hasn’t quite returned. It is an excellent 1-2 punchy opening before we pause for breath.

‘In Waiting’ mixes ambient long-tail piano chords with alto sax drifting over the top. The song features tape noise from outside as a warming hiss and a meditative hue hold over the listener with intent. Max LL says forest recordings are used throughout the album and most songs have field recordings at their base. In contrast, the mysterious piano of ‘I’ll Follow You’ could be placed in an emotional mystery or suspense drama show. The pitter-patter rhythm and majestic chord progressions are gorgeous. The way the track slows down to a stop like a windup music box works a treat too.

It isn’t until ‘Life in Projections’ that Max LL brings in percussion or overt guitar into the soundscape. This slow skipping icy ambient folk piece is led by echoey piano and distant guitar wails over brushed drums. Cinematic, thoughtful and poignant, it’s a standout on the album. We then wander into pure ambient strings and bass with ‘In the Depths of the Forest’. This warm and misty-hued piece bristles and shimmers like early morning dew. Max LL knows exactly when to pull the bass back for maximum emotional impact. This leads us to the closing duo, which are the most classical of the compositions on the album. ‘The Future is History’ is a dynamic piece that shifts between ambient pauses and bold swells. ‘Longing’ closes the album with a sumptuous and romantic cello-led orchestration. There is an innocence and simplicity to the piece that grounds the listener and I think that’s because it is the sole track with total audio clarity. The album is home. We are home. It’s a subtle audio shift but it lands deep in the feels.

Whilst the world elements of Max LL’s music are all but removed for this latest release, the more classical ambient approach shows off another side to his musicianship. Emotive, calming, thoughtful and sprinkled with regret and affirmation – it is a quiet album. It’ll be an album you’ll turn to when looking for solace and connection or grounding in a transformation. Beautiful.

Recommended track: Longing

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