Martin Martini is not a normal musician. Normally if a musician were to tell me that they went over to England recently with the sole purpose of finding a drag queen who picks up one hundred dollar bills with her asshole, I might be a little turned off. Normally I would. When Martin Martini explained this, however, it seemed strangely appropriate. Turns out he never found the drag queen, and he didn’t really like the country either.
“England’s a fuckin’ terrible place to play. I didn’t enjoy it at all. We went to Berlin afterwards and that was really fun. We holidayed in Berlin though, we didn’t play there.”
Everyone I know who’s been to England seems to share one major bone of contention; the cost of everything over there. Martin felt the tug on his hip pocket too.
“We lost a lot of money, put it that way. Even though people really loved what we were doing, we lost a shitload of money. The response was fantastic.”
Since then Mr. Martini has been rocking the socks off of adoring crowds in Adelaide, garnering five star reviews in the local papers to boot. He’s accompanied over there by an eclectic mix of complete strangers.
“They flew over some dude, some guy from the UK who’s two hundred kilos, and black and he dresses up in Lycra and does drag. They’ve got Paul Kapsis in the show as well and they’ve got this really cute blonde girl that kinda looks like Marilyn Monroe from Ireland who sings songs on the uke so it’s sorta all these people I don’t really know thrown into this tent to just sorta do whatever we want really.”
The option to do whatever he wants in these solo performances has prompted Martin to begin incorporating a rather obscure talent. Having learnt to tap dance from his mother as a young boy, he has decided to work it in to his live show through “a sort of a rap song accompanied by my feet.” Again, not something I would expect from a normal musician, but Martin Martini might very well have broken that mould.
“It’s a little bit weird. I’ve got a pair of dunlop volleys and I just chucked some metal plates on the bottom of those and I tap dance in those.”
Martin’s last recorded work was a dark, powerfully ominous affair. He explains that it was reflective of his experiences at the time.
“Yeah, that album, I dunno man, I was in a pretty bad place there. I was pretty sad and this woman fucked me up a bit. Then I drank too much and I got behind the wheel of a car and I fell asleep and then I went to court. Things were going down hill quick. I think it was a wake up call.”
He’s “out the other end now” and is working on a record that’s romantic again. It seems We’re All Just Monkeys was a learning experience, but not one that he wants to replay. The songs have been omitted from more recent performances, replaced by new and perhaps more uplifting fare, ready for his upcoming visit to Sydney.
“I just cut those songs out now. We’re playing a whole new set now that doesn’t really consist of the Monkeys album. We’ve pretty much got a heap of new material that we’ve been doing and I don’t think Sydney have heard much of it so this is pretty much the last time I’ll be coming to Sydney before we lay down a new album.”
The shift in attitude has also seen him concentrate on some athletic aspirations. He’s “fuckin’ obsessed with running” in an interesting experiment at reconciling his physical and mental well being. It’s a move that he hopes will make him a more prolific writer.
“That’s why I’m running, I’m trying to get fitter at writing. To be honest it’s not working yet, but it’s only early days. I’m steadily writing. I still write a song a week but I’m not writing enough. I want to write one every day.”
Most people wouldn’t make the connection between those two pursuits so readily, but Martin Martini isn’t like most people. I guess that’s what makes him so compelling on and off the stage.
