Kevin Richard Martin Discusses The Bug, KMRU, Amy Winehouse, and More

Kevin Richard Martin: An Artist Embracing the Dissonance of Creation and Survival

Since the release of Fire, which was crowned tQ’s Album of the Year in 2021, Kevin Richard Martin, better known by his stage persona The Bug, has been a relentless force in the music world. Emerging from the tumult of COVID lockdowns, Martin’s prolific output has manifested through a plethora of diverse and audacious projects, largely self-released and steeped in his personal history.

From the caustic ambient of Disconnect, a collaboration with KMRU, to a haunting tribute to Amy Winehouse with Black, Martin’s explorations are both intricate and reflective of his own tumultuous journey. He recently unleashed Machine, an electrifying resurgence of The Bug’s signature grit and energy, into a climate that craves catharsis and raw expression. As he gears up for live performances, including a debut of Black at the Semibreve festival, he offers an insight into the frenetic creativity that defines this latest chapter of his storied career.

A Compulsion to Create

“I was kicked out of home at 16… I was surrounded by chaos. My family life was hell. Punk music offered a view of people who were in the same messed-up situations.” Martin opens up about his early days, reflecting on the life experiences that shaped his relentless urge to produce music. It is this very impulse that drives him to venture into the unknown with each new project, buoyed by a fierce DIY ethic. “There’s never a day that goes by that I don’t make music. It’s literally a craving,” he admits, emphasizing the transformative power of sound in navigating his reality.

Embracing Discomfort

With age comes the weariness to retreat into past comforts, a pitfall that Martin refuses to fall into. “The idea of looking back in general is the antithesis of how I think,” he asserts, making it clear that he thrives in discomfort rather than nostalgia. “I prefer discomfort,” he adds, acknowledging the societal pressures for acceptance while opting instead for artistic freedom – even if that includes unlikability.

For Martin, creating sounds that catch audiences off-guard is the ultimate thrill. He recalls a recent epiphany about his audience: “The Bug shows have become a revelation. I see people either dancing their asses off… or getting lost in the sound the way I love to be,” revealing a convergence of music lovers from various genres that enriches his performance spaces.

Live Experimentation and Intimacy

Looking ahead to his live shows, Martin shares his excitement about blending and morphing elements from Disconnect and Black using innovative workflows. “There’ll be dub mixes of the material. It will depend on how I react to the environment in any given situation.” He finds solace in the flexibility of performing under his own name, attributing it to a newfound intimacy in smaller venues that allows for a deeper connection with his audience.

The Magic of Timely Releases

Martin’s recent work with Machine set a thrilling pace of releasing a series of EPs leading up to this packed collection. “There’s a huge adrenaline rush,” he explains, hinting at the tension of meeting those deadlines just in time for shows, a welcomed stress that fuels the creative fire. It highlights a newfound ability to circumvent the traditional music industry, allowing for a fresh approach to both making and sharing music.

A Dystopian Soundscape

Though Machine foregoes lyrics, Martin’s intent is clear. “It’s trying to vocalise that and interpret the difficult situations life throws at you.” He paints his vision of a dystopia that is less dark and more a reaction to darkness. “Even in the deepest recesses of the material, there’s melancholy melodies floating around,” he promises, creating an audible refuge amid chaos.

A Tribute to Winehouse

Reflecting on Black, Martin poignantly discusses his connection to Amy Winehouse’s story, which he encountered during a long-haul flight. The raw, emotional content of her life struck a chord. “It brought home memories for me of broken families, broken homes.” His obsessive fascination with the song “Back to Black” led him to a radical reinterpretation, transforming it into a self-contained exploration rather than a typical tribute.

Collective Sonic Journeys

Collaborations also abound in his creation of Absent Riddim, demonstrating Martin’s knack for curating an eclectic casting of voices while delving into the rich legacy of Jamaican dancehall. “I wanted to have as wide a catchment area of collaborators,” he states, showcasing his firm belief in the evolution of sound through varied interpretations.

Tying It All Together

Ultimately, Martin remarks on how this series of self-released material was a “monastic retreat” for him, a sanctuary of sound-making that transcended mere artistic output. “My obsession throughout my musical life is how can I make anything sound like me,” he concludes, encapsulating the desire for sonic individuality that drives his practice.

As Kevin Richard Martin hits the stage next week with Black at Semibreve, he continue to defy norms, creating a landscape that speaks of struggle, liberation, and transformation—a world where chaos finds its rhythm. For those wishing to witness this sonic alchemist in action, a vibrant experience awaits.

The Semibreve festival runs from the 24th to 27th of October in Braga, Portugal. For further information and line-up details, visit Semibreve’s website.

Written by 92.9 The Torch