Herman Martinez’s UltraTerrestrial is not just an album, it’s an expedition into our own unsettled subconscious. From the opening notes of “Uncanny Valley”, there is a clear tension between what we recognize and what we only almost remember. Martinez is unafraid to blur edges: guitars erupt, dissolve into piano, then return in shapes that both comfort and disquiet. I found myself thinking, “This is him at the height of songwriting craft”.
“Changeling” feels like admitting that who we are is under constant revision. Martinez’s voice hovers between fragility and defiance, and the melodies support that duality without ever flattening it. On the other hand, “Origins,” the lengthy closing track, lets everything breathe: layers of synth, guitar, and ambient space coalesce in a way that makes you want to press replay immediately. It’s a finale that feels earned.
UltraTerrestrial manages to strike a balance between accessibility and adventurousness. Tracks like “Sol” deliver moments that are lush and melodic, while others lean into abstraction. The production (by Ahmed Mahmoud, engineered by Chase Cassara) is sharp without sterilizing the raw edges.
This is a brave, beautifully strange record. Martinez doesn’t just invite you into his world; he invites you to see parts of your own through his lens. UltraTerrestrial is a journey, and one I feel fortunate to have taken.