For Kevin Martins‘ project Velvetic it can be said that it is a creation synonymous with versatility. From his work in alternative and progressive metal projects like Isotype and Malaphors to his forays into electronic soundscapes, the São Paulo-based multi-instrumentalist and producer is building a career around exploring the boundaries of genre. With Ephemeris, his latest release under the Velvetic moniker, Martins has channeled this experience into an ambitious concept album that chronicles the journey of life—from birth to death.
“The initial concept began after a health scare,” Martins reveals. “It forced me to think about mortality in a much deeper way. Along with that came the thought of leaving behind something that I would truly be proud of.” This deeply personal catalyst led to an album that reflects pivotal aspects of Martins’ own life, with each track serving as a chapter in the larger narrative.
The album’s title, Ephemeris, is fitting—referring to the transience of human existence while hinting at celestial phenomena. For Martins, this duality is reflected in both the music and the thematic scope of the record. Songs like “Dionysian” capture moments of acceptance and peace in the face of mortality, while tracks like “Apollonian” explore the loss of faith and the weight of existential despair. “Writing the middle section of ‘Apollonian’ felt cathartic,” Martins says. “It’s about grappling with a loss of faith in life itself. That whole section was as much therapy as it was songwriting.”
While the lyrical themes are profound, Ephemeris is also a triumph of Martins’ multifaceted musical abilities. Known for his penchant for experimentation, Martins blends the sonic influences of ’90s trip-hop, ’80s post-punk, and progressive rock into a cohesive and deeply textured soundscape. Tracks like “Departure” and “Shadow Eyes” showcase his ability to traverse genres without losing focus, while the album’s closer, “Pangaea,” is elevated by the haunting choir-like vocals of James Paddock and Keagan Dunn. “I knew from the start that I wanted the final vocal moments of the album to have a choir feel,” Martins explains. “Hearing that section come together still gives me chills.”
Producing and performing nearly every element of Ephemeris himself presented its own challenges. As someone who typically prefers to let the instruments take center stage, Martins found stepping into the role of lead vocalist daunting. “Vocals have always been something I use to complement the music,” he admits. “With Ephemeris, they became the driving force, which was a first for me.”
This shift in focus, however, allowed Martins to create a more personal and emotionally resonant album. The narrative structure of Ephemeris also helped streamline the creative process. “The linear storytelling made it easier to map out the album,” he says. “I knew what I wanted each segment to represent and could build the music around those ideas.”
Martins’ production expertise shines throughout Ephemeris. Despite being recorded entirely in his home studio, humorously named Crystalline Soundscapes Studios, the album boasts a polished and expansive sound that rivals any professional setup. “It’s just my home studio,” he laughs, “but it’s got good food and a nice bed!”
Having cut his teeth on projects like Isotype and collaborations with his brother Jonathan, Martins has developed a meticulous approach to production that prioritizes both technical precision and emotional impact. “My process has evolved over the years,” he reflects. “It used to be about cranking out songs as quickly as possible. Now, I take a step back to see the bigger picture and focus on what the song truly needs.”
This attention to detail extends to Martins’ work in indie video game soundtracks, where he honed his ability to craft mood and atmosphere. “Composing for games and albums is similar in some ways,” he notes. “But with soundtracks, the visuals carry part of the weight. For an album, you have to create the entire mood using only sound.”
One of the standout moments on Ephemeris is the track “Dionysian,” which recently earned a spot on Progotronics 47. The song, inspired by themes of acceptance and terminal illness, holds a deeply personal significance for Martins. “It’s about the inevitability of death,” he says. “I drew from the experiences of family members I lost growing up. It’s a track that had to be on this album, given the subject matter.”
With Ephemeris, Kevin Martins showcases Velvetic as a project unbound by traditional genre constraints. As he looks to the future, Martins hints at the possibility of continuing in the vein of progressive rock, albeit with a fresh infusion of new genres and ideas. “The process of creating Ephemeris was so rewarding,” he says. “I may go ahead with another solo progressive rock album while exploring other genres along the way.”
Ephemeris is out now and is available from Bandcamp. Follow Velvetic on Facebook and YouTube.
