»The Habu« (2020) takes its name from a venomous pit viper endemic to the Ryukyu Islands. Mostly nocturnal, the snake moves through dense vegetation, an elusive, almost spectral presence. The work draws on the islands’ shapes and (troubled) histories. Rather than depicting the animal directly, Martens allows it to emerge as a presence within the composition itself. Previously released on Poole Records (USA).

»The Frog« (2026) follows a different logic. Like its amphibian namesake, the composition jumps from one moment to another, until movement gives way to stillness. And then, evaporation. Ribbit!

»A Transcript« (2017) begins with an overheard argument at a café overlooking a harbour. On the quay, a fisherman unloads a giant yellowfin tuna from a small boat. Two marine inspectors arrive and pose for a photograph beside the animal. Against this peculiar scene, the argument unfolds in three variations, each offering a different perspective on the same exchange. This version of the work was previously released on Pacific City Sound Visions (USA).

Compiled for the Huur is Duur / Dolphins into the Future concerts in Kobe and Tokyo in November 2026, these three works offer different approaches to Martens’ practice.