Boomkat Product Review:
Martyn comes ruff, rugged, and emotional on ‘Voids’, his first album in four years, underlined with a signature knack for tactile bass and restlessly syncopated percussion
Voids is the first fruit of Matyn’s labour following a heart attack and recovery period which pushed the artist to rethink his music. During that time, the first album he properly paid attention to when out of hospital was Max Roach’s M’Boom , an album of heavily percussion-focussed arrangements whose space and production instantly struck a chord with the producer and seemed to resonate with his personal sonic ontology.
We can only imagine that whatever strife he was going thru was only compounded by the untimely 2017 death of Marcus Intalex, the D&B legend behind Soul:r and Revolve:r, who issued the earliest Martyn records c. 2005. After a surreal intro collage, Voids, he deals with those issues in the best way on Manchester, which reprises the swing and dubby depth of his early Broken/Shadowcasting as a fine tribute to the man and city before rolling thru some solid classic business in the acidic stepper Mind Rain and the tabla coda of Why, saving a melancholy moment of reflection for the dark blue modal jazz of Try To Love You, and ultimately resolving to a mix of raved-up feeling between the bolshy torque of Cutting Tone and the drizzly jazz abstraction of Dreamers.