"The world changes materially. Science makes advances in technology and understanding. But the world of humanity doesn't change." – Pierre Schaeffer
Music is a force, perhaps even a reflection of life that no doubt you, the discerning music listener, hold closely to the core. The artistic merit of music can be debated for eternity, but the basis of all art is creation, thus that injection cannot be argued. There is no doubt that the music of Joy Electric (the nom de compositeur of Mr. Ronnie Martin) is artistic from the squelches, blips, beeps and undeniable melodies bursting from the analog synthesizer to his meta-sing-along choruses and indelible hooks. For over twenty years, Ronnie Martin has been creating songs out the mathematics of science and the vibrations of art.
He can be accused of being too literal in his quest for the perfect pop album, while entrenching himself in the sub-genre of synth pop and his analog-only constraint, making it impossible to craft anything other than the blip-beep cutesy pop. Admittedly, there is only so much he can do with these constraints, but the genius is found in the ever-so slight deviations that manifest themselves in the cavalcade of vocals (The Otherly Opus), stark minimalism (The Ministry of Archers), clever minor key freak-beats (Hello, Mannequin), and minstrel-robotics (The Tick Tock Treasury). Martin's deviation here is the subtlest, because in many ways he only knows it because it's centered on creation. He states, "It's not that songwriting has necessarily progressed, as much as the details around [the songwriting] have. I actually have the same intent and purpose, but now it's [I feel it is] fully realized."