Herman Martinez is not here to gently ease you into anything. His new album, “UltraTerrestrial,” is a goddamn force of nature—an 11-track, hour-plus odyssey that holds you by the brainstem. This here’s a high-concept ride through the outer limits of progressive rock, psychedelia, and unadulterated creative madness. Martinez burned the rulebook for fuel somewhere on the outskirts of Atlanta during the recording process, which he aptly describes as “chaotic fits and madness.”
From “Uncanny Valley,” you know you’re in the hands of someone with a singular vision. The track begins with a buzz of disembodied conversations before launching into this multi-layered instrumental beast. But just when you think you’ve got a handle on it, Martinez flips the script, shifting into a piano-led passage that shows he refuses to be pinned down. That’s his thing: songs that are kaleidoscopic journeys in themselves.
“UltraTerrestrial” is an album deeply concerned with the ghosts of identity and the act of creation itself, those haunting questions about who we really are and what it means to create something from nothing. In “Changeling,” Martinez is singing about looking in the mirror and not knowing who’s staring back. The music matches that unsettled feeling perfectly. It’s this wild mix of fragility and power that Martinez nails again and again throughout the whole album. He’s wrestling with heavy artillery here: forgotten dreams, nostalgia for places you’ve never been, and messages from worlds trapped between frequencies. Yeah, it sounds trippy as hell, but Martinez sells it so hard you’re totally along for the ride.
Martinez did everything on this record himself. Every single note. His guitar work is absolutely killer. One moment he’s playing these delicate, floaty passages that hang in the air, then he’s unleashing these brain-melting riffs that’ll make any psych-rock fan lose their mind. Just check out how he absolutely tears it up on “Thagomizer” – the guy packs more ideas into five minutes than most bands manage in a whole album. Pure proggy rocket fuel. And his vocals are totally off-the-wall. He’ll sing against the rhythm on purpose, throwing you off balance in the best way possible. It’s weird, it’s disorienting, but it becomes this essential part of what makes “UltraTerrestrial” so damn impressive.
But let’s give credit where it’s due: this isn’t just Martinez working alone in some basement. The album’s absolutely crystal-clear-yet-utterly-massive sound is thanks to producer, mixer, and masterer Ahmed Mahmoud. Meanwhile, engineer Chase Cassara was the one tasked with capturing Martinez’s wild creative bursts in the studio. Somehow these guys caught lightning in a bottle – you’ve got this thick sound where every tiny detail gets its moment. Those crazy drum patterns that don’t follow any rulebook, the bass that makes your chest thump, it all comes through crystal clear while still packing a serious punch.
Tracks like “Smudge” show Martinez can create something drop-dead gorgeous before completely flipping it on its head. It kicks off all quiet and pretty with just piano and acoustic guitar, like you’re getting a breather. But come on, you know he can’t stay chill for long. The ending explodes into this wild psychedelic freakout that’ll make your head spin – easily one of the album’s best moments. Then there’s the title track, “UltraTerrestrial,” a seven-and-a-half-minute monolith that serves as the album’s heart. Sure, the vocal melody might feel a bit shoehorned in for some folks, but those instrumental parts are absolutely killer. The whole thing builds and builds until it hits you with this finale that’s just… wow. The scale of it all will leave you picking your jaw up off the floor.
The album isn’t all face-melting intensity. “Sol” is a more dialed-back, breathing track that’s got this warm, jazzy thing going on that feels like catching your breath after a sprint. The whole track just glows with purpose, giving you a moment to actually think. But don’t get too comfortable. Martinez quickly reminds you who’s in charge with the sprawling, nine-minute instrumental closer, “Origins.” This is a showcase of his sheer musical muscle— guitar and piano work that’s so wild and untamed, vocals would’ve just cluttered it up. Yeah, it takes guts to end an album with a near-ten-minute instrumental, but Martinez owns it like he built the damn stage himself.
“UltraTerrestrial” is not an easy listen. It’s tough, it’s complex, but if you’re willing to strap in for the ride, you’re in for something good. Herman Martinez has dug deep and created something that feels like a shot of pure energy in a music world that’s gotten way too comfortable playing it safe. Don’t just throw it on in the background.