MARTYN 黑胶唱片和CD

Review: The fifth and final Think & Change collects a few tracks that have floating around for some time. Instra:mental & dBridge's "White Snares" has existed since before the Instra:mental name ceased to be a concern last year, and combines the trio's pioneering Autonomic sound with a distinctly 80s-inspired sonic vibe. Martyn's "Bad Chicago" meanwhile has been anticipated since appearing in Pangaea's FACT mix in 2011; in comparison to "White Snares" it shows how far the label has come since 2009, a straight up techno track whose shackling beats are balanced with some rather subtle and twinkling melodies.

Review: Martyn's last physical album came out all the way back in 2014, when the term 'post' had still yet to gain notoriety and a meaningful relevance to the music industry. It is now 2018, and it's clear that Martyn, the Dutch bass legend, has a new story to tell, and it's thanks to Ostgut Ton that he's able to tell it. Voids is a magnificently deep and treacherous LP, often relying on abstract shapes to give the techno its edge, much like on "Voids One" and the following "Manchester". Aside from the beatless thrills, though, Martyn drops an impressive amount of hybrid burners, such as "Mind Rain" or "Why" - both representative of the blending of sounds that has taken electronic music by the scruff of the neck. It's a more pensive, more exploratory Martyn, and we love it.

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 on A-side "41w", a mutant roller rich in mind-altering sub-bass, hybrid electro/post dubstep rhythms and dub-wise electronics. Flip for 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: Dutch techno maestro is back and delivers a fine four track EP for Berlin institution Ostgut Ton. On the A side: "Falling For You" is deep soulful techno with a nod to Detroit with its funky synth bassline and melancholic piano notes leading you fully into oblivion over its nine minute glory. On the B side we have "U1-U8", possibly a reference to the Berlin underground routes and quite fitting really. A stomping epic warehouse techno cut that could match anything Shed or Mike Denhert have done of late. Finally "Ahmadiya" gets back on the soulful side with its dreamy bell melody and entrancing stabs, dancing on top of a vicious broken beat shuffle.

Review: Arguably one of the greatest tracks Martyn has ever written gets the Head High treatment from Shed. Taken from his landmark album Great Lengths, "Vancouver" saw Martyn throw himself so deep into dub techno territory (a dubstep framework his saving grace), he's lucky he ever resurfaced. This is the second time "Vancouver" has been remixed, with 2562 in 2008 keeping the track in familiar, higher BPM and syncopated territory, but this time it's Shed's turn to flip, reverses, invert and mangle the original's killer stabs, while also adding vocals washes, those Head High drums, and a new, subtle resonating timbre. If not for the Head High remix, this record is another fleeting opportunity for those who missed out in the past to own a great Martyn opus.

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: It would be fair to say that Martyn's previous albums were characterized by a claustrophobic feel, with his instinctive blends of techno, house and dubstep shrouded in dense, often murky textures. It's interesting, then, that The Air Between Words - his third full length, and first for Ninja Tune - is a much breezier, more accessible affair. The trademark hard-to-define eclecticism is still present, but there's newfound maturity to the musical flourishes and bold grooves. The result is an album that pleasingly refuses to settle on one groove, tempo or style, variously touching on jazz-influenced percussive techno ("Drone"), symphonic ambience, folksy electro-pop (Inga Copeland collaboration "Love of Pleasure"), woozy, rave-influenced dancefloor electronica ("Forgiveness Step 2") and saucer-eyed Balearica (the thrilling closing track, "Fashion Skater").

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: Great Lengths, the first album by singular Dutch producer Martyn made big waves last year. Yet another talent to drift from drum and bass into 2-Step/dubstep/wobble territory, he put his own unique stamp on the genre and was shown a lot of love around the world as a result. This revisit to Great Lengths sees two very spooky gentlemen, Zomby and Redshape, take on two of its tracks.

Zomby's output has been fairly prolific of late and he's established a fanatical fanbase who follow him hawkishly. Anyone who's heard his Rave homage "Where Were U In '92?" will know how extreme he can get, but on his mix of "Hear Me" he plays it relatively safe. He keeps things nicely sparse, keeping the "Can you hear me" line from the original while adding some nice arpeggiated synths and a funky Soca beat over the top. Needless to say, his fans won't be disappointed as it's bound to blow up big time with DJs over the next few weeks.

Berlin-based Redshape is an enigma, a man whose identity is unknown and who wears a mask to hide his face at all times. He also does an awesome line in Detroit techno, which is thankfully fully visible on his mix of "Seventy Four". A wicked whispering vocal keeps the tune driving along nicely over gliding synth pads to create a mix that's as woozy as it is pumping. Both of these mixes come very highly recommended.

Review: Great Lengths, the first album by singular Dutch producer Martyn made big waves last year. Yet another talent to drift from drum and bass into 2-Step/dubstep/wobble territory, he put his own unique stamp on the genre and was shown a lot of love around the world as a result. This revisit to Great Lengths sees two very spooky gentlemen, Zomby and Redshape, take on two of its tracks.

Zomby's output has been fairly prolific of late and he's established a fanatical fanbase who follow him hawkishly. Anyone who's heard his Rave homage "Where Were U In '92?" will know how extreme he can get, but on his mix of "Hear Me" he plays it relatively safe. He keeps things nicely sparse, keeping the "Can you hear me" line from the original while adding some nice arpeggiated synths and a funky Soca beat over the top. Needless to say, his fans won't be disappointed as it's bound to blow up big time with DJs over the next few weeks.

Berlin-based Redshape is an enigma, a man whose identity is unknown and who wears a mask to hide his face at all times. He also does an awesome line in Detroit techno, which is thankfully fully visible on his mix of "Seventy Four". A wicked whispering vocal keeps the tune driving along nicely over gliding synth pads to create a mix that's as woozy as it is pumping. Both of these mixes come very highly recommended.

Review: The Zehn 12" sampler series from cam Ostgut Ton reaches edition Sieben and features Martyn, Atom TM, Tobias and Planetary Assault Systems on the cut. It's the DC-based Dutchman that takes the A-side honours with "Jah Bedouin", a trademark hybrid cruncher from Martyn that pairs a UK rhythmic bent with tunnelling dub techno vibes and the occasional, yet wholly enthusiastic vocal sample that inspired the title. Face down Tobias and Atom TM experiment with a darker strain of sinewy techno on "Physik E7532" whilst Luke Slater is in banger mode for closing PSA cut "Hama Static".

Review: Having enjoyed a remarkable 2010 that included Onra's superlative album, the LA series of killer ten inches and much more, Dublin imprint All City begin the year with the first in a new series originally mooted by the label bosses back in 2009. Inviting their favourite producers to knock heads and deliver two tracks, All City deliver a statement of intent with Martyn and Mike Slott at the controls with brilliant results! Much like the majority of Martyn's recent work it's pretty hard to categorise "All Nights", his A Side collaboration with Luckyme's Slott, other than to say it's a techno step flexer that's primed for play in the clubs. Special mention as well, for the prominent usage of cowbell and a vast array of unidentifiable sound effects that add a sonic richness to the track. The flipside brings the downtempo vibes of "Pointing Fingers", all reflective textures and soft, dreamlike melodies aided by rattling beat programming and ethereal vocal harmonies. Forward thinking sounds from all involved.

Review: The third volume in 3024's "mini-compilation" series "FYE" is every bit as essential as its predecessors. Label chief Martyn sets the tone via superb EP opener "Recon", a bass-heavy chunk of polyrhythmic techno smothered in Motor City electronics and toaster-warm chords. NKC steps up next with the no-nonsense, percussion-heavy tribal house workout "Honest Drums", before Jacques Greene joins the dots between spacey '90s IDM, post-dubstep and electro on the aurally attractive "Say Nothing". Finally, Djoser rounds things off via the rumbling bass, layered tribal drums and looped, xylophone style melodies of "Wera".

Review: Martyn and Roman Lindau are first up on this series of EPs to coincide with Ben Klock's impressive Berghain 04 mix, and it's a must have for fans of deep techno steppers. 'Miniluv' sees Martyn delve into the traditional rhythms of 4/4, with an infectious chime groove sounding out over a shuffling etheral techno beat as lasers shoot out from the depths of the prodduction. Roman Lindau gets all moody on us with the industrial 'Keppra' the subtle patter of pads barely audible below the shuddering growl of the bass line. One of the best releases so far this year.

Review: This new one on Martyn's 3024 might be a various artists affair but the tracks sit rather well together, which is even more remarkable given the diverse backgrounds of those involved: Noire with his super hard drums, Metalheadz affiliates Gremlinz & Jesta who link here with Sin, and Parris who makes some truly bonkers club music. Martyn's own "Frozen Bread Snaps" is the opener that most impresses with its delicate and skeletal drum programming and heartfelt chords. Elsewhere, "Door Of Guf" is a high octane rough rider while "Ballas" is perfectly off kilter and funky. "Dusty Glass Bubbles" somehow sounds exactly like it should with that title.

Review: Ahead of a second volume of curations for their Monkeytown label, Modeselektor waved this cheeky two-tracker under our noses. The German champs themselves are up on the A-Side, with the lean and mean throb of "Maik Teh Chicken". It's subtle, broken techno that plies an unusually deep trade for them, whereas Martyn is in a feisty mood with his side of the wax. "Red Dancers" is on a rough, broken beat tip with bouncing drums, snaking acid lines and an eerie sustained note hovering in the background. It's fearsome stuff executed with the panache we've all come to associate with the flying Dutchman.

Review: The infamous Air Texture imprint steps up with this new collaborative effort from some key producers across the house and techno reign. Berlin tech-house queen Steffi opens with the subtly pounding forces of "Between Form & Matter", leading the way for all sorts of sci-fi house rolling from the likes of Tracing Xircles, As One, Afik Naim and Late Night Approach. Crucially, you get some sick new tunes from a number of contemporary legends like Basic Soul Unit, Martyn and Answer Code Request. All of this across 2 slabs of wax!

Review: The infamous Air Texture imprint steps up with this new collaborative effort from some key producers across the house and techno reign. Berlin tech-house queen Steffi opens with the subtly pounding forces of "Between Form & Matter", leading the way for all sorts of sci-fi house rolling from the likes of Tracing Xircles, As One, Afik Naim and Late Night Approach. Crucially, you get some sick new tunes from a number of contemporary legends like Basic Soul Unit, Martyn and Answer Code Request. All of this goodness in two discs!