12 Songs, 51 Minutes

EDITORS’ NOTES

Where Martyn’s critically acclaimed 2009 album Great Lengths delivered the best aspects of dubstep while evading genre pigeonholes, his 2011 album Ghost People keeps dodging predictability while making something that sounds both familiar and previously uncharted. “Love and Machines” sets the tone with MC Spaceape freestyling over a glistening ambience, and “Viper” blends krautrock-inspired oscillations with laser effects, sequenced handclaps, and downtempo rhythms. With bubbling beats and an 808 State–influenced minimalism, “Masks” recalls the kind of late-night/early-morning dance music played at Manchester’s Hacienda in the early ‘90s. “Ghosts” switches things up with polyrhythmic percolations, vintage synthesizer drones, and what sounds like the peripheral whirring and chirping of Star Wars droids. Martin seems in his element as he keeps those more progressive arrangements sounding simple and flowing.

EDITORS’ NOTES

Where Martyn’s critically acclaimed 2009 album Great Lengths delivered the best aspects of dubstep while evading genre pigeonholes, his 2011 album Ghost People keeps dodging predictability while making something that sounds both familiar and previously uncharted. “Love and Machines” sets the tone with MC Spaceape freestyling over a glistening ambience, and “Viper” blends krautrock-inspired oscillations with laser effects, sequenced handclaps, and downtempo rhythms. With bubbling beats and an 808 State–influenced minimalism, “Masks” recalls the kind of late-night/early-morning dance music played at Manchester’s Hacienda in the early ‘90s. “Ghosts” switches things up with polyrhythmic percolations, vintage synthesizer drones, and what sounds like the peripheral whirring and chirping of Star Wars droids. Martin seems in his element as he keeps those more progressive arrangements sounding simple and flowing.

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Ratings and Reviews

4.2 out of 5
21 Ratings

21 Ratings

mattj916 ,

Not Great Lengths, but solid.

I've been a Martyn fan for some time now, and I was super hyped for his debut album on Flying Lotus' Brainfeeder label. While not as hard-hitting and pinpoint precise as his first album "Great Lengths" Martyn still delivers with his trademark downtempo basslines, early 90's late night ambient samples and overall production. There has always been something sleek and unique about Martyn's music that even his fans can't put a finger on, but he delivers for the most part here. "Viper" incorporates a downtempo metal guitar-esque riff with a pulsating arpeggiattic keyboard line which makes the song more intense than most Martyn's other stuff, while "Masks" see's him go to more of an 90's sound again. "Popgun" and "We Are You In the Future" seem to ring the truest overall as progressive tracks that see Martyn clicking on all cylinders. There must have been adverse pressure on Martyn with this album going away from his comfort zone and debuting on a new label, but even though "Ghost People" doesn't carry its weight in gold the same way "Great Lengths" did, you have to give Martyn his props for still defiantly remaining at the top of his game.

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