Superhuman Album Cover
Superhuman liner notes
Martin Tillman Superhuman Album Cover Back

FYC: Superhuman - A Contemporary Instrumental New Age Album

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Though born out of the darkest trenches of despair, Superhuman is a reaffirmation of the power of the human spirit. Tillman has composed Superhuman to trigger the spirit’s quest to elevate our endeavors and realize our superhuman strengths.

Superhuman is dedicated to Martin’s wife Eva who 8 years ago was diagnosed with MS.  Eva’s courage and strength to live with and battle against the degenerative disease inspired Martin to compose the album.

Superhuman celebrates the beauty and extraordinary courage of those who everyday summon up the superhuman strength to battle physical and mental obstacles. Martin hopes his music will give audiences wings to rise above their challenges and open their mind’s eye.

Live Performance

Live from LA concerts and rehearsals “Celluloid Spaces” montage by Peter Chun Mao Wu

Superhuman in the Media

The Swiss-born, California-based cellist/composer Tillman’s new album is dedicated to his wife Lisa, who has been battling MS for the past eight years. The entrancing tracks here emit a sense of wonder. It’s a tribute to courage exhibited in the face of ordeals and obstacles. Beautiful, uplifting, cinematic and reflective, Tillman’s compositions draw from classical, classic rock and electronica. Among the most spellbinding tracks are “Celluloid Spaces,” “Cracked Diamonds,” “Translated to Beauty” and “The Invisible Shield of Strings and Bows.” Tillman has recorded in sessions with superstars like Sting and Elton John, as well as performing for Hans Zimmer on many blockbuster movies. But here, on his own exhilarating album, he takes listeners to new musical worlds. See the entry here.

The ECHOES top 25 for October 2016 is here! It was a fantastic month for electric instruments, with Martin Tillman’s album ‘Superhuman’ topping the list! See it all here.

September 14, 2016
Martin Tillman’s Superhuman
Martin Tillman is perhaps best known as a studio musician often performing on electric cello in the scores of the Remote Control composers, especially Hans Zimmer and Harry Gregson-Williams. Superhuman is a sort of musical journey across time and space if you will. The music tends to be a cross between trance, techno, and slight club music with touches of rock and even a bit of symphonic sweep. It does not quite have the feel of a jazz concept album (the closest one might come is a cross between Pat Methany and Craig Chaquico). Melodic content is not as specific here with a focus more towards unique textures and sounds. Read More

Swiss Electric Cello Player Martin Tillman Is ‘Superhuman’ on New Instrumental CD [REVIEW]

Aug 14, 2016 07:32 AM EDT | Mike Greenblatt (

Martin Tillman’s instrument is the electric cello. His resume is power-packed, which is why he has members from the bands of Elton John (guitarist Davey Johnstone), Frank Zappa (drummer Vinnie Colaiuta), James Taylor (bassist Leland Sklar) and Toto (keyboardist David Paich) on his self-released Superhuman.

Mostly known for movie work, he’s appeared on over 120 film soundtracks-including such big-buck bonanzas as The Da Vinci Code, Hannibal, Black Hawk Down, Batman and Pirates of the Caribbean-ever since he landed in Hollywood from his native Switzerland. In fact, Superhuman sounds like a soundtrack to a movie that doesn’t exist.

It rocks in places, it goes EDM in others (electronic dance music). There’s classical motifs, sumptuous pop sections, funk moments and, through it all, there’s that slithery slippery electric cello be it plucked or bowed. Read More

World-renowned Swiss cellist and film composer, Martin Tillman, has recently released a beautiful new album entitled, Superhuman, which is dedicated to his wife Eva who was diagnosed with Multiple Sclerosis nine years ago. AXS spoke to the accomplished artist about his incredible career working on great films such as the Dark Knight Trilogy, the upcoming “Pirates of the Caribbean”, “Hannibal”, “Black Hawk Down” and “The Ring”, as well as about what went into his latest creation.

What proves Tillman’s work to be so distinguishable is his unique genre-blending capabilities which have enabled him to master his own distinct sound. With over 120 film soundtracks under his belt as well as countless tours and collaborations with artists such as Sting, Elton John, B.B. King and Elvis Costello, this classical turned electric cellist found his method of expression with the help of his ZETA cello and ever since then has been integrating symphonic sounds with an EDM flair to deliver the ultimate rock ‘n’ roll vibe.

He discussed with the moment when he first realized that he wanted to be a musician, “I decided to enter the conservatory of music. I was 17… and at the same time I had a vision that I would end up in Los Angeles one day performing and recording”. He explained about his transition going from classical cellist to electric cellist, “The classical cello taught me to learn the craft. The electric let me invent my own sound. It’s the best instrument in the world. Everything is possible”. Read More

Roxane Assaf-Lynn

There’s art for art’s sake, art for commission, and art for love. “Superhuman” is film composer Martin Tillmann’s 11-track homage to his wife Eva who was diagnosed with multiple sclerosis nine years ago. Spelled “Ewa” in Polish (EH-vah), the recording industry pro said she needed an uplift and a motivator – an album of music that is both inspired and inspiring that can accompany listeners through their own trials of darkness. Together Eva and Martin are taking their show on the road.

Tunes can be heard on Soundcloud with “Notes Toward the Universe” setting the mood – well, one of the moods. Just when you think it’s your cue to lie face-down in a massage therapist’s darkened spa cubby, you’re more piqued than passive. Read More

Famed cellist and composer Martin Tillman has had an accomplished career as a film soundtrack musician/creator and solo artist. He has over 77 film soundtrack credits to his name, including The Dark Knight trilogy, Black Hawk Down, The Ring, The DaVinci Code, and most of the Pirates of the Caribbean series. Tillman’s latest oeuvre is his solo album Superhuman, an uplifting and mind-expanding, rhythmically-driven, cinematic journey where he fuses the classical, electronic, and rock genres with the film soundtrack experience. Superhuman is available now via Symphonic Distribution.
Read More


Extraordinary Playing Can Be Heard On Films Including
The Upcoming “Pirates of the Caribbean”, “Hannibal”,
“Black Hawk Down”, “The Ring”, “Batman Trilogy”, “Rush”

Releases Powerful and Uplifting Genre-Blending Album

Performance Video



For Immediate Release: N.Y., N.Y., July 25th, 2016

Internationally-renowned Swiss cellist and film composer Martin Tillman, whose extraordinary playing can be heard on films including the upcoming Pirates of the Caribbean”, Da Vinci Code, Hannibal, Dead Men Tell No Tales, “Black Hawk Down”, “The Ring”, “Batman Trilogy,” “Rush”, “Frost Nixon”, (Filmography on IMDB) fuses high-energy style with rock ‘n’ roll grit, symphonic sweep and the film soundtrack depth and finesse that his is known for while jetting down to the EDM Earth, on his new album, Superhuman. It is an exciting and uplifting cinematic journey from an accomplished artist who has contributed to over 120 film soundtracks.

Tillman has released a string of solo albums, composed for films, toured around the world, and collaborated with Hans Zimmer, Harry Gregson-Williams, Sting, Elton John, B.B. King, Elvis Costello, Ricky Lee Jones, Beck and others.
Tillman began his career as a classical cellist, performing with the Bern Symphony Orchestra, Switzerland, from 1986-1987, but was never satisfied doing so. The music he was listening to growing up was more pop and rock oriented including Pink Floyd, Santana, Hendrix, Kraftwerk, Tangerine Dream, Supertramp and Vangelis. He was always more interested in pop/rock music and continually experimented with ways to electrify the cello.

While in Europe, he got an opportunity to audition in Monte Carlo for a famous cellist, Lynn Harrell, who was impressed by what he heard. They met again in the U.S. in Los Angeles, when Tillman finally decided to move to the U.S. and landed in California. Tillman continued his studies at USC and stayed with Harrell for a time. He decided that classical cello was not his true calling and began to find ways to electrify his cello by amplifying it. Tillman also received advice from electronic violinist, Jean Luc Ponty and was encouraged to become an electric cellist soon after. That had involved apart of the proverbial 10,000 hours of practice: Tillman comments: “getting a pick up to attach to the bridge , adding effects like echo, reverb and delay and distortion ….that was the beginning but I soon found out that the “audio feedback” problems forced me to get a solid body cello made by ZETA.
At last I found an instrument which had all the controls I needed! Zeta sounded amazing, was liberating and clean…had countless advantages over the acoustic cello. I now could perform in large venues and my Zeta cello’s sound could fill the entire concert hall.

I put together a band and began performing around L.A clubs. I guess experimenting every day with my pedals eventually lead me to create my own sound. Plus I always wanted to emulate other instruments on the cello. Even human voices! I was very inspired by Peter Gabriel’s “Passion” album. It had everything in it that I loved.”
He met David Foster and Humberto Gatica, while working at Ground Control studio. Humberto invited Tillman to do some session work on albums he was producing among others “Chicago 17”.

He toured with Beck in Japan, Air Supply in South America and Australia and performed on Tonight Show with Jay Leno and David Letterman with “Williams Brothers” (Andy Williams’ nephews). Thanks to these shows his name was getting a lot of exposure within the film and music industry. He also began receiving requests for session work by artists like Sting and Elton John.

Finally, a call came in from Hans Zimmer, who had heard Tillman play and was impressed enough to ask him if he would work on the “Face off” score for him. That led to collaborating on more soundtracks and over 40 films for Hans Zimmer.

That was the beginning for Tillman to start using the electric cello as a full-fledged sound for the movies. Hans said to Tillman “You’ve got a “secret weapon!”. Tillman says “you can never tell what will come out of my instrument next. It really is versatile: from sounding like ocean waves, human breath sounds – to a very “The Edge” guitar delay sound…to mimicking the Armenian Duduk, which is an Armenian wind instrument. It is very haunting. My middle-eastern e-cello sounds were used in Hans Zimmer score “Black Hawk Down”.

It was also used extensively in John Debney’s “The Last Temptation of Christ” film and countless other movie scores.

“I can create also very scary, horror like sounds using all sorts of techniques and effects”.
Of the 2001 film “Hannibal”, Tillman (featured cello) says “this was the most horrific, screechy, dark, suspense sounds I have ever done on an e-cello and acoustic cello one can imagine.

Michael Mann featured music from my solo album “Eastern Twin” on “Ali”.”
In the first Pirates of the Caribbean: “The Curse of the Black Pearl” (2003), (musician: cello soloist). “Hans Zimmer specifically wrote all the Jack Sparrow for all the Pirates movies 1-4 themes for me. The idea was to perform the cello as a drunken pirate, with style and charming humor. After all, it had a rock ‘n’ roll element to it. The role of Jack Sparrow was modeled after Keith Richards.”

For the 2012 Hans Zimmer soundtrack for the film “Dark Night Rises” (Batman), as musician: electric cello soloist, Tillman says “Hans asked me to work with him on a special sound to capture the unpredictable character of The Joker. We spent weeks experimenting. The e-cello sound is combined with other instruments as well, to make it sound multi layered. So, in the end we achieved this menacing one note gliding up for several minutes at the beginning of the movie.”

Superhuman, is dedicated to Tillman’s wife Eva who 9 years ago was diagnosed with MS. Eva’s courage and strength to live with and battle against the degenerative disease inspired him to compose the album.

Eva and Martin Tillman
The album is a reaffirmation of the power of the human spirit and a testament of love. It celebrates the courage and drive of those who must summon up the superhuman strength needed to battle against extraordinary challenges every day.

Eva and Martin Tillman
Tillman collaborated with several famed musicians on Superhuman including Michael Landau (Michael Jackson, Joni Mitchell), Davey Johnstone (Elton John), Graham Russell (Air Supply), Vinnie Colaiuta (Sting, Frank Zappa), LeelandSklar (James Taylor, Phil Collins), Dee Lewis Clay (Peter Gabriel, Jamiroquai), David Paich (Toto), and the City of Prague Philharmonic Orchestra.

Superhuman takes flight in all its panoramic glory on 11 diverse tracks that includes the sublime “Zero Gravity” which tranquilly radiates an expansive and blissful ambience. Tillman merges classical Ravel with cutting-edge electronic dance music on the dynamic and relevant “Superhuman”. “The Invisible Shield of Strings and Bows” unspools like a film reel filled with poignantly drawn cello lines. Shining washes of synths and a rapid dance tempo run through the EDM-immersed “Wonder”. “Cracked Diamonds” comes on with sleek, James Bond-like sexiness, while “Celluloid Spaces” segues from soulful gospel-blues to joyful EMD euphoria. Tillman even adds a trace of human vocals to an otherwise all-instrumental album, with wordless female croons gracing the gospel-rocker “Unlocking the Locks” and hymn-like sighs hovering over the shadowy “Involuntary Midnight”.

Superhuman showcases Tillman as a composer who can blend a multitude of musical genres into an absorbing and transporting album and a performer whose mesmerizing compositions are a means of exploration, connection, and celebration.


Twitter @Martinocello
Martin Tillman Music
For further information please contact:
Doreen D’Agostino


We exist in a world contrary to our true nature, having to endure war, politics, technology and greed. Yet despite these by-products of civilization, our pure primal drive endures. The fear of extinction fueled our very existence and called upon everything within our power to hunt, eat and procreate.


Then, somewhere along the evolutionary line, a power far greater than anything imaginable emerged: LOVE. Love gave us newfound purpose, taking us beyond our animal instincts into new, profound dimensions. A force that could only be described as magical.


The deeper the experience of love, the greater the capacity to draw from its power to overcome anything and everything in order to have it. Above all, to keep it. As it was with our ancestors, so it is now. Our intention defines us.

When we garner the will to extend ourselves for the purpose of celebrating, nurturing and protecting what we love and whom we love, what ensues is SUPERHUMAN.


Superhuman is dedicated to my wife Eva




Composed, performed, arranged and produced by Martin Tillman


Guest musicians:  Dee Lewis Clay vocals, Davey Johnstone electric & acoustic guitars, Michael Landau electric guitars, Graham Russell acoustic guitars, Vinnie Colaiuta drums, Leland Sklar bass guitar, David Paich keyboards , William V. Malpede piano, Michele Balduzzi and Daniele Pianigiani sound design, Christopher Healings: Remix ”Involuntary Midnights”, Aaron Steinberg electric guitar, Angel Roche Jr. percussion


“Involuntary Midnights” “Seint Nicolas was borne in the citee of Patras”  performed by Anonymous 4, courtesy of Harmoni Mundi USA


Strings orchestrated by William V. Malpede


Orchestra recorded by City of Prague Philharmonic Orchestra


Executive producer Russell Emmanuel


Original liner notes by Daniel Schweiger


Concept Dennis Mukai/Ron Taft


Album art & design Dennis Mukai


Mixing by Jeff Biggers

  • Mastered by Nick Cooke at Extreme Music


Engineered by Steve Genewick, Joerg Huettner, Adam Schmidt


Dune software provided by Kevin Schroeder


More than any other form of art, music transports us from the physical plane to a realm of reflection, dreams and excitement. Yet at the same time, we find ourselves swaying to the melody, if not dancing wildly to its rhythms. Such is the power of listening to Martin Tillman’s “Superhuman” a soundtrack for the composer’s upbeat imagination that rocks with his sense of stylistic and technological exploration, while jetting down to the EDM Earth his tunes encourage us to leap from. Mind and body are one as Tillman elevates body and soul in “Superhuman,” lighting a stylistic path with his distinctive fusion of music and movement.   

As a world-renowned cellist whose distinctive playing can be heard on such scores as “Black Hawk Down,” “The Ring” and “Batman Trilogy,” Tillman’s equally distinguished career on the concert stage has drawn a number of renowned players to this ambitious project, among them guitarists Michael Landau (Michael Jackson, Joni Mitchell) Davey Johnstone (Elton John), Graham Russell (Air Supply),  drummer Vinnie Colaiuta ( Sting, Frank Zappa), Bassist Leeland Sklar ( James Taylor, Phil Collins),  vocalist Dee Lewis (Peter Gabriel, Jamiroquai) , Toto keyboardist David Paich and the  “City of Prague Symphony”.  All contribute to the rhythmically expansive, cello-topped sound of “Superhuman,” its eleven, stylistically diverse tracks made all the more cinematic by movie score mixer Jeff Biggers. “Because he has this tremendous experience on epic films, Jeff’s talent allowed me to treat ‘Superhuman’ as a soundtrack for the audience in a way that goes beyond incorporating EDM and rock and roll into my themes,” Tillman says.

Tillman hears “Superhuman” as an album that will unlock listeners’ own imaginations, in much the same way that the composer has transformed adversity into the thematically soaring, encompassing optimism of “Superhuman.” “Music lets us dream a different existence, and make it our own,” Tillman concludes. “It’s that spirit that’s now let me find a new, powerful way to express myself with ‘Superhuman.’”

Daniel Schweiger


More than any other form of art, music transports us from the physical plane to a realm of reflection, dreams and excitement. Yet at the same time, we find ourselves swaying to the

melody, if not dancing wildly to its rhythms. Such is the power of listening to Martin Tillman’s

Superhuman” a soundtrack for the composer’s upbeat imagination that rocks with his sense of

stylistic and technological exploration, while jetting down to the EDM Earth his tunes

encourage us to leap from. Mind and body are one as Tillman elevates body and soul in

Superhuman,” lighting a stylistic path with his distinctive fusion of music and movement.

Born in Switzerland and renowned internationally as a virtuoso cellist, Tillman has been equally

drawn to the rock concert stage and the movie screen for inspiration. His evocative playing has

seen him perform alongside such artists as Sting, Elton John, B.B. King and Beck, while also

becoming a distinctive instrumental voice at Hans Zimmer’s Remote Control Productions,

where his evocative cello performances were notably highlighted in such scores as “Pirates of

the Caribbean,” “The Da Vinci Code,” “Frost / Nixon” and “The Dark Knight Rises.” As a

composer, Tillman moved from providing additional music on “Black Hawk Down” and “Ali” to

fully scoring “Admissions” and “Dark Hearts,” while teaming with Zimmer for the eerie “Ring

Two” and percussionist Satnam Ramgotra on the epic “Last Knights.” As well composing the

score for one of the most successful movies in Switzerland ”Bell for Ursli” . Keeping equal

footing in touring pop, rock and alternative music arenas throughout the world, Tillman crafted

his first solo album “A Year in Zurich” to feature both his cello and piano playing, However, his

wife Eva’s diagnosis of multiple sclerosis in 2007 gradually changed Tillman’s career focus, at

first in a bleak direction before he found new creative purpose in realizing his most ambitious

work with “Superhuman.”

It was just super stressful and I came to a conclusion I couldn’t continue life as it was,” Tillman

says. “I thought that the only way we’d survive was if I went into my studio and started writing

music. Not music for other people, but music for us that would create a drive for survival and

inspiration. Then in 2010, Eva told me that her birthday wish was for me to write her a happy

melody, as opposed to the kind of melancholy us Europeans tend to have. That was basically

the beginning of “Superhuman,” a title that was all about good energy, which is so powerful for

Eva and me, while being able to touch other people in the same way. It was also a play on

words, as I’d worked on all of these ‘super’-type movies like ‘Batman Trilogy’, ‘Ironman’ and “Man of Steel”. Because as we know, a superhuman can do anything he, or she wants to.”

Working with new empowerment and determination, Tillman gradually pulled together the

ideas for his album. “I’d keep scraping and adding things, almost to the point where it felt like I

was scoring a constantly evolving animated movie,” he says. “I had to figure out a way of

finding a musical language that was different from anything I’ve done before, to combine all of

these ideas and feelings into one album. Ultimately, it became more than any one idea, with

each piece growing into the other in a way that elevates the listener.”

Tillman tested and refined the eleven tunes that would comprise “Supernatural” through

mini-concerts performed in his home studio, adding light shows to further express the music’s

palpable energy. His intimate audiences often suggested ways to expand on his evolving ideas,

especially when it came to gracing them with additional instrumental passages and a female

voice. Tillman then reached out to both former collaborators and the artists who inspired him,

gradually building an all-star wall of sound that would be a whole new set of ideas to


Their response was phenomenal,” Tillman remarks. “Everyone was pleasantly surprised once

they heard the demos, and agreed to join the project. I had Michael Landau on guitar. Not only

has he played with everyone from Roger Daltrey to Michael Jackson, but he can also do the

meanest Jimi Hendrix riffs you’ve ever heard. Our other guitarists include Davey Johnstone,

who played with Elton John, and Graham Russell from the classic band Air Supply. Dee Lewis

Clay, who sang on Peter Gabriel’s ‘Sledgehammer,’ was on vocals. Leland Sklar, a top session

player, performed bass. We had hall of famer Vinnie Colaiuta on drums. We even had David

Paich on keyboards. He played with Toto, which was the first band I ever heard. Now here was

David, sitting at Oscar Peterson’s piano, asking what he should play for me! My mixer Jeff

Biggers created the album’s expansive sound. Because he had this tremendous experience

recording and mixing big scores, his talent allowed me to treat ‘Superhuman’ as a soundtrack

for the audience. So to just call this an EDM or a rock and roll project would be way to narrow a

focus for this album.

Superhuman” launches with Tillman’s “Notes Towards the Universe,” As the very first track he

began writing as well, the music establishes the way that each unique piece will introduce a

brightly captivating theme, a “consistent groove” that will progressively and percussively build

with synths and layers of instruments to reach an ultimate emotional epiphany, With “Notes,”

Tillman’s electric cello blends with a meditative “space age” vibe that recalls the electronic

influence of such seminal artists as Vangelis and Tangerine Dream on the composer’s work.

They played with a true expressiveness that was made their synths ‘liquid’ in the way they

sounded so free,” Tillman says. “There’ also a classical feeling to their work, love of Maurice Ravel. I was inspired by the shape and rhythm of Bolero. Our bass player

Leland Sklar really helped capture that lyrical feeling by inventing his own lines over my original piece. He made it really amazing, especially as I never originally designed bass to be in it.”

The synth-guitar beat of “Wonder” introduces the sparking, EDM dance element into

Superhuman,” as well as lush strings to carry its theme, displaying Tillman’s desire for a

hybrid” sound that crosses both old-school cinematic melody with the rave state of the

technological art. Tillman treats his cello in the same way he would a synthesizer, editing the

instrument to exactly replicate the electronic beat underneath it, a feat that would be

unplayable in real time. “I always listen to EDM to find artists who are doing something unique

that will inspire me,” Tillman says. “It was very important to show that it was actually possible

to have super fast EDM playing quite harmoniously, and interestingly with an acoustic cello.”

The organ takes the lead in “Future Dawns,” Tillman’s salute to progressive rock, a lyrical guitar,

space age synth groove and piano solo creating a striving, optimistic mood. “Bands like Led

Zeppelin, Deep Purple and The Rolling Stones meant a lot to me when I was growing up,”

Tillman reminisces. “This a fun, rhythmic track with a strong visual aspect to it.”

A mystical sense of past and future combine with “Involuntary Midnights,” as Tillman’s cello

captures an ancient, tribal sound, chanting vocals leading into a transfixing EDM house track.

The cue’s title owes itself to a late night ride past Los Angeles airport, during which Tillman’s

radio chanced upon ancient voices singing an A Capella melody that turned out to be from an

unknown composer’s mid-century song about “The Legends of St. Nicholas. “It had a western,religious feeling to it, which I thought would be an interesting balance for an “eastern” cello, Tillman says of his re-imagined version, which Hybrid’s Chris Healings helped turn into an extended, beat-driven piece.

Dynamic percussion, suspenseful strings and Tillman’s cello gives a cinematic drive to “Cracked

Diamonds,” a piece awash in thematic elegance that could benefit a secret agent. “You could

call this my piece for a James Bond movie!” Tillman laughs. “As I’m a big fan of those movies,

I’ve written a pop tribute to their music here, where the orchestra meets this weird, cool

trip-hop groove.”

Tillman’s tribute to the acid rock scene ruled by Pink Floyd is heard in the mesmerizing haze of

cooing voices, electric guitar (performed by Davey Johnstone and Michael Landau ), rocking

cello and shimmering organ grooves that fill the “Celluloid Spaces,” the hallucinogenic rhythm

then going for the rush of the present-day dance scene in this lyrical exploration through

Tillman’s altered musical states. “I wanted to do one track which covers thirty years of drugs

from LSD to ecstasy. The idea was to have it in three pieces, starting out in the sixties, then

going into a pre-EDM world, then finally into the EDM zone as the music trips from 1964 to

2016,” also featuring the wonderful soul vocals of Dee Lewis-Clay.

A rhythmic sense of cosmic consciousness infuses the soaring “Superhuman.” A mesmerizing

wash of synths turns to bubbling electronic percussion, Tillman’s neon EDM beat rising,

stopping and then surging upwards again as it contrasts with a far more meditative orchestra.

To help create this futuristic sound, Tillman again (this is the only time on the record).drew on

the work of Maurice Ravel, as well as the talent of Skrillex collaborator Michelle Balduzzi to

reverberate Ravel into a “droplet” of sounds for the piece’s introduction for a way of “waving to the great classical masters in a way that you wouldn’t expect.”

Gossamer strings, subtly ethnic percussion and guitar prove to be the keys to “Unlocking the

Locks,” with Dee Lewis’ vocals again backing Tillman’s bright synth melody, the interplay

between four pianos and the cello creating a more “cooled down” second half before his

melody rocks again with even more emotional determination. “This is my ‘stadium rock’ piece,

so there were many musical rooms to unlock here,” Tillman reveals. “It was important to play

more than just a theme, so I created numerous parts, from its ‘ethnic’ e-cello opening to the

guitar tracks, with Michael Landau giving me his best Keith Richards, an earthy rock and roll

spin whose simplicity really makes this piece.”

A more literal approximation of musical space travel lifts off in “Zero Gravity,” as sonar and

solar wind-like effects introduce a gentle melody carried along with synths, strings and piano.

It’s a lyrical theme, with a poignant sense of striving to touch a greater power, much like the

experimentation that brought together the track. “I heard it at first as a ‘’love theme’ for the

album, one that had no rhythm as such, but drifted in free time,” Tillman says. “But I felt that if

strings could come in and out of it, growing each time, then it would infuse a strong life into the

music. And when I heard those strings played live in Prague, I knew that this track had truly

been born with a truly human feeling to it.”

A cool, noir-esque groove conjures a femme fatale sound that’s “Translated To Beauty,”

Tillman’s whistling adding a whimsical touch to the simmering blues guitar, cello and delicate

strings that makes for this distinctive, darkly humorous track. “It’s black and white music,

maybe like what you’d hear in a French or Italian movie,” Tillman conjectures. “Or maybe it

could be for a silent movie made in 2016.”

Martin Tillman’s ends “Superhuman” with a cinematic big bang, the emotional themes he’s

been building tying themselves together to form “The Invisible Shield.” His contemplative

melody is filled with an aching cello and soft strings gradually building from melancholy to

soaring, self-assured grandeur, the orchestra reaching a powerful, profound sense of touching

the stars. “This is my ode to the kind of big Hollywood scores I’ve played on,” Tillman says. “It’s

been a long journey in Los Angeles to be around and play with that kind of talent. So I knew the

album needed to culminate with one grand theme, to reference the idea of an ‘extraterrestrial’

superhuman feeling that would lead one into space itself.”

In that stylistic way, Martin Tillman has always heard, and envisioned “Superhuman” as

something that transcends an album listening experience. Designed to be part of a globally

touring multimedia stage show, his “Superhuman” experience will involve the orchestra, a DJ ,

dancers and state of the lighting art, all flowing in synch, But even beyond that, Tillman’s

greatest hope is that “Superman” will unlock music’s true power to send listeners to a higher,

spiritually optimistic place where their own imaginations will flow “’Superhuman’ is the

soundtrack to the audience’s’ own stories,” Tillman concludes. “It’s 3-D for the all of the


Perhaps, no one is as moved by Tillman’s ability to touch his listeners than the album’s source

of inspiration. “I’m happy that Martin discover this new happy side of himself in a way that also

helped him escape from our own problems,” Eva Tillman says. “Superhuman’ was a way of

dreaming a difference existence for Martin and myself. His music let me travel with my mind to

the places I could no longer experience with my body. In that way, creativity can change

anyone’s outlook. Music might not physically heal you, but it certainly can heal the

relationships, and the soul. So it’s very gratifying to have people relate to Martin’s music in that

way, because love is the driving force in making people rise above their challenges, and truly

become superhuman. That transcendental spirit that music gives us is what this album is

dedicated to.”

Daniel Schweiger