The Air Between Words
With his sophomore album Ghost People appearing on 2011‘s end of the year charts for the likes of Mixmag (#6), Clash Magazine (#9), DJ Magazine (#9), Data Transmission (Album of the Year), Martyn returns to Brainfeeder to release a follow-up 12” this March.
The 12” leads with "Hello Darkness", previously unreleased and exclusive to the release, Martyn shuffles through a rhythmic bassline and feeling of, indeed, darkness from the very first beat. In typical Martyn fashion, the track skips its way through genre conventions, landing in a flux between 2-step, driving techno and old rave (the latter specifically heard in his ethereal and scaling upper melodies). "Hello Darkness" could lend itself to the rawest, grittiest warehouse, yet simultaneously breeds a subtle feeling of elation and release, and keeps the listener guessing with a variety of quirky sound collages.
It also features a remix of "Bauplan", Night Slugs bosses L-Vis 1990 and Bok Bok bringing the most sinister corners of London into their remix, with a heavy grime lean and a pervading feeling of tension. Erratic samples (sounds of a tweeting bird one moment, the cocking of a gun the next) appear in-between a snap beat, metallic stabs and an apocalyptic build-up of percussion and synths. Pulsing in and out of a highly volatile atmosphere, almost as if the track is alive and breathing, this "Bauplan" almost feels like an unrelated beast until Martyn’s melody lines start to unfold halfway through the track.
To finish there is an exclusive remix of "We Are You In The Future", a favourite from the Ghost People LP amongst critics and DJs across the board. Techno’s notorious man in the red mask - Redshape - steps up to create a deep and dark Detroit interpretation of Martyn’s freewheeling, sci-fi-enhanced joyride. Laced with ominous vocal samples (“It may be an accidental side effect of the drug”), the future takes on a slightly more dystopian feel with Redshape’s melancholic strings, unpredictable percussion builds and a lingering, creeping reinterpretation of the track’s original melodies. A definitive nod to the epic work of Derrick May and Carl Craig, with a hint of Kenny Larkin’s intricate builds.
"By the time the imitators catch up, he'll be light years ahead." DJ Mag
"This is top-quality output from a first-class producer who just keeps getting better." Mixmag
"Classy cross-pollination of techno and dubstep." Q Magazine
"An album of Orbital-esque sci-fi landscapes, funky cyber-shuffles and old skool rave delivered back from the future." Artrocker
"Continues to predict the dance trends of the future... at the forefront of the shifting beat" BBC
"A satisfyingly darker affair than his debut." Guardian Guide
"Alive with bleeps, gale force synths and sci-fi effects. Ghost People balances dancefloor immediacy with cerebral stimulation" Independent (Dance album of week)"
A cutting edge album that is extremely engaging and enjoyable." Music OMH
"An exceptional release." Music Week
"Ghost People is the perfect platform for Martyn to parade his different facets of production, giving an ample insight into his inspirations and his progression as an artist." Sonic Router
"Futuristic and perfectly current at once. Go. Get." Ransom Note"Restlessly innovative maverick." Metro
"Whether garage, techno, ghetto bass or rave, the route to the dancefloor is always direct, and the laying into the speakers cut and dried from the off." Clash