”UltraTerrestial” is an appropriate introduction into the world of Herman Martinez.
Herman Martinez is a self-taught, multi-instrumentalist based in Atlanta. The music act returns with his new album, “UltraTerrestial,” following last year’s record, “Immortal Jellyfish.” Influenced by Martinez’s encounter with the ghosts of creativity, his latest project promises to be a beacon of chaotic good and love in a world consumed by apathy. Recorded on the outskirts of Atlanta, the album’s recording process was marked by madness, and unbridled creativity.
“UltraTerrestial” kicks off with “Uncanny Valley,” an immersive experience marked at the start by voice recorded murmurings, before transforming into a rock-driven wall of sound. His voice comes across as croaky and slightly worn out, which actually works well with the eventual, constant soundscape. Fueled by harsh electric guitar strings, “Uncanny Valley” is explosive, littered with Herman’s vocals that appear distant, but still captivating enough to keep you hooked till the last second.
“Changeling,” the lead single, comes in as track number two. A softer approach in comparison to the first song, the instrumentation here is milder, giving listeners a better sense of the quality of Herman’s vocals. Lyrically, “Changeling” delves into themes of self-identity — offering a deep exploration of Herman’s current state of mind. The track almost instantly, becomes a strong contender for the best one on the album, with its magnetic energy and Herman’s impressive vocal showing.
Entering the fray at number three, “Thagomizer” features more of a country-influenced sound, specifically at the start. Another song with a softer approach, it gives listeners another chance to take a further peek at Herman’s vocal capabilities, which he passes in flying colors. Further down the line, it changes fully into a full blown rock tune, rounding off with mellow chants that add an extra dimension to the overall composition in fascinating fashion.
“Smudge” comes next, commencing with soothing acoustic guitar strums, as Herman showcases deep vulnerability, with the lyrics proclaiming self-examination. One criticism of this particular track, is that it feels a bit jointed, as the melody and rhythm fail to be in constant motion, inhibiting the overall soundscape. The song ends in a vast loop of energetic and anthemic sound, putting a unique outro on the overall composition.
A six-minute musical number, “Cauda Pavona” begins with beautiful piano chords, setting up the foundation for Herman to come in with his rather soothing and stern vocal performance. The track has a sort of whimsical nature to it, especially at the early stages, exhibiting a more rock centered approach as it nears the midway point. “Cauda Pavona” rounds off in brilliant fashion, justifying its inclusion on the project and standing out as a major highlight on “UltraTerrestial.”
Erupting with elements of indie rock, “Unreliable Narrator” rears its head. As a whole, the track struggles to really match the quality of most of the other offerings on the album, with a rather poor opening, negatively impacted by the rather uninspiring instrumentation. Herman’s vocals still shine through, but the song conclusively ends as a disappointing performance.
Over a sprawl of over seven minutes, the album’s title track, “UltraTerrestial” emerges with the vocals of Herman at the center of it all. The instrumentation here is a bit subdued, giving greater emphasis to the vocal performance. A rich tapestry of sound, “UltraTerrestial” essentially blossoms the longer it plays on, leaving you wanting more.
Another solid piece, track number eight, “Sol,” explores the never-ending concept of creation. The instrumentation here, is a bit dark and brooding in nature, backed by a reverberating vocal delivery from Herman. “Sol” offers a constantly engaging rhythm and melody that will easily connect with listeners, as the lyricism paints the process of creating something out of nothing.
Coming in at number nine, “I Hope Something Good Happens to You Today” is a positive affirmation on its own, as Herman wishes for the best. His typically strong vocal range shines importantly here, further illuminating a record that speaks with intentionality. He closes the track with a rush of pulsating drums and sharp electric guitar strings, putting a fine polish on the outro to such an integral piece of the album.
Starting off with a somber intro, “Photographic Reflexes” produces an alternative energy swamped by a well structured beat, that instantly grabs your attention. Buoyed by a properly paced and steady flow, “Photographic Reflexes” is another immersive experience that allows listeners to drift off and let their mind wander freely. Another brilliant feature, it easily wraps up its run as a magical and magnificent musical offering, exhibiting Herman’s gift at structuring music.
“Origins” rounds off the album in a powerful showing of the intensity of rock music. The track could certainly have benefited from having some vocals infused with the instruments, instead it just comes across as a long and overdrawn musical number, hindering itself from becoming more — a rather underwhelming conclusion to a well crafted album.
As a project, Herman describes “UltraTerrestrial” as a collection of forgotten dreams and nostalgic memories, offering listeners a glimpse into unseen worlds and frequencies. Be sure to listen to the new album, out now!
Link: https://tinyurl.com/2clh62wt
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