Review: It's always exciting to see new Martyn hit the shelves, having proved himself to be one of the most forward thinking and experimental dance music producers of the last decade. This tidy new two tracker on his own 3024 imprint is a perfect example of his creativity in motion, kicking off with this glistening moogy textures and progressive rhythms of the title track 'One Eye'. On the flip, we are also given a certified gem as we see Martyn steer down a more funky-inspired path. This track takes the name 'Nerve Centres' and combines high energy percussive arrangements with blissful pad textures and warm sub designs, coming up in perfect balance.
Review: Well well well, we seem to have been delivered treat as the legendary Martyn returns with new music via Ostgut Ton Germany. The EP itself is made up of three original heaters, kicking off with the super choppy drum swipes and gnarly bass twists of the title track 'Odds Against Us'. This is then followed in style by the super unique sounding minimal drums tones of 'BC 2', stooped in dungeon-esc energy. The EP is then finished up in style as we take a dive into the swirling synth pools and smooth chord progressions of 'Rhythm Ritual', a classy way to round off a fantastic new body of work.
Review: For his latest album, Martyn has turned a real-life, near-death experience into one of his greatest artistic statements. Recorded after he was recovering from a heart attack, it sees the storied Dutch producer at his most vulnerable. Granted, there are typical Martyn steppers like the melancholic "Manchester" and the recoiling sub-bass of "Nya", but the album also contains abstract, contemplative pieces like "Voids One", the jazzed-out drums of "Why" and the show-stopping, late night piano piece, "Try To Love You". Clearly, his experience has left him with an appreciation for music in its rawest form and thankfully, he is happy to share it with his audience.
Review: Given his previously prolific work rate, Martyn has been surprisingly quiet of late, with last year's digital-only GL Outtakes mini-album being his only release of note since 2015. This first outing on Dolly Dubs, then, is big news. Happily, his grasp of dancefloor dynamics remains in tact, with all three tracks sounding like peak-time smashers in waiting. He predictably hits the ground running with "41w", a mutant roller rich in mind-altering sub-bass, hybrid electro/post dubstep rhythms and dub-wise electronics. Then you will find the slack-tuned breakbeats, rumbling (not to mentioned relentless) bass and creepy IDM electronics of "Body Music", not to mention the crunchy, surprisingly bouncy and melodious metallic techno of "Angels".
Review: It sounds strange to say it, but this is the happiest release that Berghain's in-house label has put out. The title track is full of mournful keys and a pulsing Chicago bass and the groove is positively jaunty. It's hard to imagine how Martyn got to this place, but equally, there is no doubt that this sweet mood suits him. "U1-U8" is more in keeping with the Dutch producer's sound, with haunting chords unfolding over furious break beats, but soon enough, he's back exploring a more contemplative sound and the loose drums and melancholic keyboard solos sound like a freeform version of Smallville/Dial's deep, reflective house.
Review: Releases on Dolly offshoot Dolly Dubs are infuriatingly infrequent, but when they do appear they're invariably excellent. This latest offering - the first for 12 months - is predictably impressive. It's Martyn's second contribution to the series, and his first EP of 2015. There's naturally much to set the senses tingling, from the wobbly analogue bass, dreamy pads and loose, rave-era house breakbeats of flipside "Don't Block The Box", to the pitched-down jungle rhythms, bittersweet chords and notable bass of opener "Done Away". The swinging, spooky and downright chilling "EF40" is pretty darn tasty, too.
Review: That one of this year's best techno albums has been made by a Dutch dubstep artist and is issued on a label owned by an LA hip-hop figure says a lot about the increasingly blurred boundaries within which it operates. Ironically, the backbone for Ghost People is the purist-influenced Berghain sound that has dominated techno production in recent years. In fairness to Martyn, he makes no secret of this, even going as far to equating his European DJ dates to sonic fact-finding missions that informed the album's direction. However, it would be a mistake to assume that Ghost People is merely a replica of unflinching Berlin techno. Instead, Martyn uses it as a backdrop to tease out a range of directions. The title track contains references to the heady rush of rave, while "Twice As" revisits the Dutch producer's love of Detroit techno as sonic blips and spine-tingling melodies are married to more garage-style shuffling beats - perhaps the track's title is a nod to the London 2-step institution. On "Popgun", the producer briefly revisits lurching dubstep territories and there's even a tribute of sorts to Vangelis on the glistening synths of "Bauplan". That Ghost People covers so much ground while remaining close to the filtered rumble of tracks like "Horror Vacui" is an impressive testament to Martyn's supernatural production powers.
Review: After the rip-roaring success of Ghost People, Martyn continues his relationship with Brainfeeder by issuing forth a new track. "Hello Darkness" is burdened with a whopping great synth line and a ruff rhythmic undercurrent, making it both emotional and primal in the same beat. When the heavy drama of the lead synth falls away the track really comes into its own, letting the bassline dread seep out in all its glory. L-Vis 1990 and Bok Bok opt for a stark, strange take on "Bauplan" in the remix department, while Redshape bolts some uncharacteristic clattering breaks onto his version of "We Are You In The Future". Awesome.
Review: Dutch producer Martyn puts his name to the 10th release on his 3024 imprint with a pair of raw analogue jams. "Left Hander" will please fans of Lone and Kassem Mosse, with raw analogue drum programming underpinning 90s rave keys. Flipside accompaniment "Shook Up" is a more straight up techno jam - straight up for Martyn anyway - not dissimilar in nature to the "Miniluv" track that popped up on Ben Klock's Berghain compilation earlier this year. More off kilter magic from the Dutchman.
Review: The latest artist on Bassbin to have their work brought sparkling into 2013 is Martyn. Sounding as fresh now as it did in 2006, "Cloud Convention" tumbles and soars around perfectly built breaks. As an undisputed leader in creating beats that simultaneously sound huge and robust as well as fallible, each amen has the inbuilt feeling that it all could fall apart at any minute. That's the genius of it though, that it's all so finely constructed yet so uniquely deconstructed too. Or perhaps we're looking into it too much because we're excited about this two track re-release. Either way these are important tracks in D&B history and you could do a lot worse than acquiring them for prosperity's sake. Just as long as you let them out to smash a dancefloor up occasionally too.
Review: Ahead of a forthcoming new album for Brainfeeder, Martyn drops this killer induction into Steffi's recently established Dolly Dubs imprint. The offshoot launched in relatively low key fashion late last year, with Swedish producer Staffan Lindberg at the helm. The addition of Steffi's compatriot Martyn is however big news, with the three track Newspeak EP the Dutchman's first proper release since Hello Darkness, the single that bookended his album for Brainfeeder in March of last year. Long term devotees of the 3024 boss's output should be familiar with the sub heavy snap of the title track which featured on his Essential Mix for Radio 1 last Spring, whilst lead track "Oceania" is a rolling, broken treat.