LA artist Martron stopped by to chat about his bold, new Resurgence EP, and how he blends classical influences into his evolving electronic sound.
DJ, producer, and songwriter Martron brings a dynamic range of musical talents to every project. A classically trained musician who grew up in New York but now resides in Los Angeles, he draws from his deep foundation in the orchestral world to shape a sound that is both technically refined and creatively bold.
Initially drawn to the aggressive intensity of dubstep, Martron began to transition into electronic music in 2012 and gradually expanded his palette to embrace a broader range of production techniques. Over the years, his work has reflected a wide spectrum of cultural and musical influences shaped by his early education. It has earned him support from artists like Whyte Fang, SLANDER, ODESZA, NGHTMRE, and Steve Aoki.
Matron’s latest release, the Resurgence EP, marks a pivotal new chapter in his career. Following a period in which he felt lost and disconnected, the project channels the emotional weight of hitting rock bottom and the unwavering determination to rise again. Undeniably powerful and personal, the release explores the highs and lows of transformation, serving as a sonic reminder that growth often comes through struggle.
With this EP, Martron turns vulnerability into power. We caught up with the rising artist to dive into his creative process behind the project, his evolution as an artist, and what lies ahead. Listen to his exclusive guest mix on SoundCloud and read on for the full conversation.
Stream EDMID Guest Mix 474 || Martron on SoundCloud:
Let’s dive into your musical roots to kick this off. Can you tell us about your background in classical music and how that training has influenced the sound and structure of your electronic productions?
I’ve been immersed in classical music for most of my life. I’ve played flute for 23 years, played piano and sung for 19 years each, and have also been composing orchestral music for 19 years. I’ve been part of several advanced ensembles and music groups over the course of high school and college. I was an AP music student in both and a first-chair flute player in college.
I was the youngest to ever attend Bard College’s graduate student summer conductor and composer program at 16 years old, and the youngest to attend back-to-back when I went the next year at 17. I earned my college degree in music performance. I studied everything from Baroque to modern music, and I performed various flute and piano recitals, including a piece of my own writing which was either never or rarely done before at my college. My accolades also earned me a job writing commercial music for the furniture company Ethan Allen, where I mainly wrote orchestral music.
The training I got in those experiences influenced and taught me a lot; one of the biggest examples would be learning how different cultures approached and wrote music. Like with the flute, for example, I studied a lot of different styles over the course of my career, but when I was in college, I mainly studied French composers and players from there, as well as Japan. You get a better understanding of how music was created when you look at it from a wider scope, and I incorporated what I learned into my playing and writing.
I started my electronic journey in a similar way: Back in 2012, I started out wanting to make the heaviest and filthiest dubstep, but over time, I listened to and learned to appreciate many kinds of electronic music and music production in general. And just like my classical days, I incorporated what I learned and am still learning into my own work. Doing that makes me feel more equipped to refine my sound and doesn’t make me feel boxed in because it’s like adding more colors to my palette. It allows me to easily experiment and take an idea in any direction.
You’ve described the Resurgence EP as a celebration of becoming unapologetically yourself. Can you talk about the personal experiences or emotions that inspired this narrative?
Sure. During the first half of this year, I took the time to focus on my personal life and get that side of things in order, and in doing so, I had some great highs and some hard lows. I struggled mentally, and at one point in April, I hit a very bad low. I had just about lost everything and hit rock bottom. That’s when I got back to writing more music.
A couple of weeks later, in early May, I started “Always,” which consistently struck and tugged several emotional nerves of mine. A few days later, I had a vision and idea for an EP with “Always” being the focal point, and I was locked in in a way I’ve never been before. For the whole month of May, I was going nonstop, working on this EP every day until I couldn’t stay awake anymore, only to get up and get right back to it and repeat the cycle. And by the end of the month, Resurgence was done.
During that time, therapy was (and still is) helping me discover a lot about myself and do more to grow on many levels. I had managed to use what I was feeling and the growth I was doing at the same time as tools to create something I’m truly proud of in such a short period of time. And in time, I’ve become a stronger person than I’ve ever been.
The word resurgence carries a lot of weight; it signifies growth and reclaiming strength. What made you choose that title for this project?
Your description of resurgence here is exactly why I chose that title. At one point, I wasn’t myself. I was absent and weak, I wasn’t disciplined, and I lost my way. Now, after putting in the work over the past few months, I’ve gained so much more confidence, I’ve reached new peaks physically, mentally, intellectually, and spiritually. I’m more independent, more relaxed, more decisive, and more focused. I’m writing more music and doing more for myself than I was before.
Resurgence reminds me of that emotional ride in the hero’s journey where the hero is at their lowest and all is lost, but then you watch as the hero finds a way to somehow overcome the obstacles and grow during that battle. Like Luke Skywalker’s transformation from the end of The Empire Strikes Back to the end of Return of the Jedi. Not only did he grow significantly and overcome dire and impossible odds, but he also stayed true to himself. Luke’s interactions with Darth Vader in Return of the Jedi are the greatest example of this; his growth is palpable, and you can tell he went through and grew a lot to make it to this point of confronting and eventually defeating Vader.
That’s what Resurgence is to me: a transformation and a journey ending in defying the odds to rise from the ashes and soar higher than ever. Looking back at where I was a few months ago versus now is startling. I’m proud to say that I’m back and better than ever.
Each track on the Resurgence EP feels like its own sonic journey. You’ve explored many genres and textures, from bass-heavy rhythms in “No Fear” to dreamy melodies in “When You See.” What’s your approach in the studio when crafting these diverse sounds?
Honestly, I just go in there and experiment based on what I’m feeling at the moment. I like taking the time to just come up with things, build off an idea, and run with it. It could be how I chop a vocal sample, play a chord progression or melody, or what rhythm I choose for my drums. It could even just be a specific sound or two that I hear played in succession. Regardless of how the idea comes, experimentation makes an already fun process of making music even more fun!
For example, I wrote the first 85% of “Talking” in a little over four hours. There was no plan; I just whipped out my laptop one day in the studio, started writing, and was having a blast. Then, four hours later, I had a nearly finished track.
As another example, the track “Moonlight” started while I was scrolling through some vocal samples, and I liked the sound of when two specific samples were played back to back. That resulted in the melody that opens the track and is heard throughout it. There isn’t a single or correct way to approach making music, which is something I love about making music in the first place. At the end of the day, I love going into the studio with the mindset of “anything goes” and experimenting with a wide palette at my disposal.
Is there a particular track on the EP that feels especially personal or significant to you?
“Always” 1000%. “Always” is the backbone of this EP; it’s the track that was the catalyst for creating Resurgence and the track I put just about everything I’ve got into. Not that I don’t do that with my other tracks, but “Always” was written at my lowest point and fueled by so much more emotion than any of my other tracks. When I sat down and wrote the piano parts for it, I had a feeling something cool was coming, but I didn’t think this would be the end result.
“Always” has pain, love, resilience, faith, triumph, reassurance, and perseverance all tied up in one big package. It’s one of my favorite tracks — if not my favorite track — I’ve ever written. It’s a love letter to what once was and the declaration of a new chapter.
Something cool about “Always” is that not only did I write lyrics and sing on it, which I’m usually shy about doing for my own tracks, but for the first time, I played flute on a published track. I recorded a video in early May of me playing flute on an early demo of it, and I decided afterwards that I needed to add flute to it immediately. I love expressing myself through playing flute. It’s exactly what the track was missing; it’s the cherry on top, and a great way to transition to when it starts to wind back down and hit that final peak at the end.
Overall, “Always” was with me from the start of this journey of growth. I feel like we grew alongside each other, and what we’ve both become by the time I finished the track is special. The best way I can describe it is that it felt like watching a shriveling caterpillar dry up and, on its way out, turn into this magnificent and glowing butterfly.
You’ve been supported by some big names like ODESZA, Steve Aoki, and SLANDER. How have these experiences influenced your growth as an artist?
Yeah, it’s a confidence booster to be recognized by others in the industry, especially people I grew up listening to. It’s not only mind-boggling, but it tells me I’m doing something right. I mean, seeing a track of mine get added to ODESZA’s official Spotify playlist, hearing Steve playing one of my tracks on the radio as well as signing two of them, and hearing SLANDER play a remix of mine in a set with NGHTMRE is so sick. I’m extremely grateful for all their support, and that of anyone else.
Seeing that kind of stuff inspires me to work more and harder than I already do because it’s like, “Wow, these guys fuck with my music? How cool!” But at the same time, I’m not trying to get a big head about that kind of stuff; I’m just a guy who loves making music, whether the support is there or not. But to have their support means a lot to me, and I don’t take it for granted.
As we move into the second half of the year, what’s on your radar for the rest of 2025? Do you have any tour dates or special events planned?
Currently, I’ve just been taking in how much love Resurgence has been getting. It’s so cool to see people resonate with it all over the world, and I’m very grateful for that. I can’t overstate how proud I am of Resurgence, and I want it to have as much room to breathe as possible, so I’m not sure whether or not I’m gonna put any more music out this year. Maybe one or two tracks if anything, unless something changes.
With that said, I’m working on another EP and a few other things; more on that will come in due time. But as of right now, most of my time is definitely gonna be in the studio as per usual, grinding away. Outside of the studio, I’ve been mainly keeping to myself and plan on taking more time to enjoy some of my hobbies as well as continuing to grow spiritually. I don’t have any planned events or tour dates as of this moment. Right now, I’m just enjoying the fruits of my labor and remaining grateful for what I have.
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