Along the pathways of my stationary travels, I have not encountered an artist more mesmerizing or compelling than Aaron Martin. Centered around his singular cello, he employs a plethora of other instruments (guitar, banjo, ukulele, lap steel, concertina, singing bowls) to forge a unique sound and style with roots sunk deep in rustic earthiness yet somehow reaching boundlessly into transcendent and ethereal realms. It is as if Martin unlocks not only the resonance of his instruments, but extracts the very history and memory out of the elements from which they are made. I find his music to be ancient, timeless, and modern all at once, always moving and unfailingly pointed towards true north.
Never has this been more true than on his newest work entitled A Room Now Empty soon to be released by UK-based contemporary classical label Preserved Sound, Martin’s first full-length solo record since the sublime Comet’s Coma (Eilean Rec., 2014). Soon listeners will be able to revel in its stark, intimate beauty and be shaken by its soul-deep, melancholic yearning. In the meantime, Stationary Travels is very pleased to present this interview provided courtesy of Preserved Sound & Hayden Berry in which Aaron talks about how the layered meanings in the music and titles of the album and how they don’t allow one clear-cut reading of the music.