"From industrial dancehall to leftfield techno to deep, alienating drone made with saxophones, Kevin Richard Martin welcomes the spirit of dub into everything he touches. Across three decades, the physical force of his music has expanded and contracted, but two things remain constant: the pulse of dub, no matter how reduced, and the rumble of the bass. "[The goal] was to make a new form of dub music that I wasn't hearing,""
"Structured in a versus format with each artist trading blows, the album has a tension that makes its otherwise stone-faced music thrilling. If Machine was intended to make audiences physically uncomfortable, Martin's tracks on Implosion use the same sonic devices for more introspective ends. Each of his contributions is named after a venue or nightclub, and these desolate tracks can feel like they're reverberating through long-abandoned, decaying spaces. The music is lumbering, even by his standards, with basslines so belligerent they might trigger the lunk alarm. They're also stop-you-in-your tracks heavy, like "Believers (Imperial Gardens, Camberwell)," named for a long-gone '90s club."
Kevin Richard Martin blends dub's rhythmic pulse and deep bass into genres ranging from industrial dancehall and leftfield techno to alienating saxophone drone. Collaborative album Implosion pairs Martin with Michael Fiedler (Ghost Dubs) in a versus format that trades sonic blows and builds tense, stone-faced tracks. Martin names contributions after venues and nightclubs, producing desolate pieces that sound as if they reverberate through long-abandoned, decaying spaces. The music is lumbering and bass-heavy, with belligerent basslines and ancient-sounding dub sirens turned into crude physical objects. Several tracks channel the mournful, political energy of 1970s dub and create palpable, vibrating air.
Read at Pitchfork
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