In 1977 Martin Wall borrowed and saved enough money to rent some synthesizers, book a few days in a couple low-rent studios in Hamilton and Toronto, and then pay for a modest pressing of his sole LP Metaphysical Facelift. It’s a familiar story; without distribution or a record deal, the album went almost entirely unheard outside of a few friends and locals who were gifted copies. Martin did however go on to make his living from music, with a few missed opportunities at big success with The Instructions and later Kim Mitchell’s band. For years, he played piano bars across Europe, all the while composing hundreds of songs for himself, close friends and anyone else who showed an interest in his abilities as a songwriter. Martin’s gift and burden, inherited from his grandmother, a classical pianist, is music. Playing piano, singing and writing songs is what Martin must do, and what connects him to a continuum of obsessive musical voices that stretches back to Beethoven (Martin’s hero) and beyond.

Made with the most modest of means, Metaphysical Facelift is a testament to ingenuity and perseverance, but most of all to sublime songwriting. Martin’s voice and songs are melancholic and timeless, reminiscent of Bill Fay, Robert Wyatt and at times Brian Wilson. On the album, Martin sings and plays piano, polymoog, mellotron, and Cat synthesizer. He also had a few friends join him on bass, guitar, drums, and backing vocals. The ambitious arrangements and production, stacked full of effects, overdubs and electronics is impressive, like a charmingly home-baked Goodbye Yellow Brick Road. A private pressed record of the highest order, sure to make deep impressions on open-minded listeners for years to come.