Releases, recordings, compositions
aliases/bands: Max Wainwright       Atuan       Dronewright       ISO 668       Malsono

Atuan: lightless

This album was written and recorded in my bedroom during the worst year of my life. Four songs about hate, pleasure, pain, love.

released on the 1st of October, 2021


Dronewright: multisaturate

Three heavily processed guitar drones.

released on the 21st of April, 2021


Max Wainwright: walloeipn

A series of noise/drone recordings based on an IP-telephone feedback loop performance, first re-bounced between my two dictaphones (at ever lower speeds) and then mixed, layered, distorted, pitched, re-layered. Play it loud.

released on the 8th of September, 2020


Max Wainwright: dictaphone palimpsest, winter 19-20

I present to you the sounds of field (domestic) recordings, jams, conversations, live granulisations, synthesis experiments, walks, reading, feedback, working ... which were recorded, overwritten, cut up and sped down, on a Sony M-629V microcassette (dictaphone).

The two sides of the microcassette were recorded mostly between December 2019 and February 2020 (trailing off at the end, probably into April). A collage, or palimpsest of ambient soft noises.

Sound materials are interleaved, they cross between sides and skip back and forth in time. Isolated "pieces" are mixed with recurring themes and textures, though echoes and remnants may be found in other places.

The two tracks are mono; stereo listening (one track per channel) is encouraged: a stereo mix is included as an extra upon purchase for a Stereondipitous™ listening experience.

Fixed in the digital realm on May 27th, 2020. No noise reduction has been applied.

Tracks (sides)
A+B (bonus track)

released on the 27th of July 2020

dictaphone palimpsest, winter 19​-20

Max Wainwright: some inputs 1 (misalign)

Some inputs 1 (misalign) is the first of a series of feedback explorations, where the core sounds is formed by a feedback loop, into which external sounds are fed, to perturb and shape the oscillations. I call this technique "some input-mixing".

In misalign, the feedback loops consists of a Mackie 1202 mixer and a Tascam field recorder, which has the possibility of delaying either channel in milliseconds. This, the first in the series, is perhaps closest to normal no input, the only external audio being the ambient sounds of the room (in which the sound of the no-input loop is also played back), which are recorded onto the field recorder and monitored in the desk, along with the line out of the desk itself. Feeding itself. The quiet ambient sounds may affect the loop, the acoustics of the space (my workshop) absolutely do.

Thus four channels are recorded, two variously delayed line inputs and two microphone inputs. Owing to a mistake, the tracks have then been mixed up, so that the line recording from one take was combined with the microphone of another. Since the takes are of different length, the recordings have then been played at slower or faster speeds to conform to each other (and further expand the frequency content of the pieces upwards and downwards respectively).

The two sharp and cutting drones, sometimes delving into pulsations and beating textures, are companion pieces which due to their manner of creating share many features and their larger form. Different aspects of the feedback loop are brought forth by the raw line sound and the reverberated microphone input, so the same take's two recordings present dissimilar perspectives of a shared form. This leads to two different counterpoints, each consisting of a raw and reverberated recording, one having been either sped up or slowed down. Occasionally, external sounds can be heard underneath the sound mass.

recorded on the 10th of April 2020,
released on 5th of June 2020

some inputs 1 (misalign)

ISO668: .mpy3k

shifting, stretching, clashing, throbbing, colliding; broken, stretched, mangled; textures, off-beats, microtones, drones, pulsations, spaces;

these tracks didn't make themselves.

released on the 1st of February 1 2020 (my birthday)


Dronewright: archive

An archive of drone pieces from around 2011 to 2020.

released August 12, 2017, updated with new tracks until 24th of September, 2020. Some old drones will likely be added when/if I find them.


Max Wainwright: scrapings (Ensemble Mimitabu)

This piece was comissioned buy Ensemble Mimitabu (Gothenburg). It is scored for violin, cello and percussion (a floor tom) with custom electronics involving contact microphones and relays as low-fi transducers. Sounds from one instrument are "sent" to another, which acts as a resonator, while both musicians manipulate their instruments according to the text score (which includes some illustrations).

The piece has four parts, which are played in pairs while the third musician rests. A fourth performer uses two stereo microphones to amplify the quiet sounds, directing them at different parts of the sounding instruments, leading to shifting timbral focuses and an "artificial" stereo image.

I consider this piece a form of acoustic microsound, where the physical textures of the instruments' surfaces are amplified using electronics, and filtered by other resonating bodies.

Performed on the 7th of May 2016 by:
Karin Hellqvist - violin
My Hellgren - cello
Martin Salomonsson - percussion
Max Wainwright - microphones


Max Wainwright: still lives

The tracks on Still Lives were recorded with various electronic music gear, meticulously tweaked and then set up to be recorded at predetermined lengths, with no editing, fades or cuts afterward. The structure of the album is based on a simple increase in length and reduction in number, giving a symmetric series of cut-up drone walls ranging from noisy screeches and pulsating throbs to hum clusters. All of the sounds (and micro-structures within) arise from feedback networks which when left alone create ever-changing motion. Each track consists of a number of drones, juxtaposed and set apart by breaks intuited from the vague sensation of tempo in the preceding track.

Listening instructions

• listen in a good stereo or decent hedphones
• turn up the volume
• if your living conditions allow, listen without noise pollution and while doing nothing else, in one pass

• do not shuffle
• do not repeat

released on the 9th of October 2015

Album cover by Hanna Sjögren.


ISO668: al gabr

algorithmic pseudo gabber for humans to consume

made in bitwiz
cover made in 0xED

released on the 21st of October 2013

al gabr

ISO668: ftrmbnt1

generative futurambient

bass, kick n bass

made in bitwiz
cover made in 0xED

released on the 24th of June, 2013