Mark Lawrence aka Mala has shaped the sound of modern electronic music, with the help of his Digital Mystikz / DMZ partner Coki. Ten years after dubstep’s biggest release DMZ007 ‘Haunted / Anti War Dub’, the genre pioneered by the likes of Skream, Benga, Hatcha and Loefah has returned to the underground. After a brief spell in the limelight (thanks to Skream’s remix for La Roux, Caspa & Rusko’s Fabriclive mix and the subsequent interest from mainstream radio, major labels and of course Skrillex) “dubstep” became a dirty word. What goes up must come down and genres will continue to fluctuate in popularity, but this one in particular has had an enormous impact on the sounds that we hear today…
With many of the forefathers (Skream, Loefah, Pinch) exploring different avenues and some leaving the scene behind completely, it is surprising that Mala has managed to stay true to himself. A producer that actually tries to avoid the term dubstep when describing his own music, he continues to release the genres most successful 12″s on his own label Deep Medi Musik. The second generation including Kahn, Gantz and Commodo are flying the flag for dubstep and are pushing the sound in a new direction, Mala has also been bending the rules with his last two albums. After numerous trips to Cuba with BBC 6’s Gilles Peterson (Brownswood Recordings), the pair recorded traditional Cuban musicians which was then transformed into a Croydon / Cuba hybrid drowned in dread via Jamaica. It was a release that certainly pushed the boundaries and opened up possibilities of a new audience, however it was not as well received as they would have hoped. This time Mirrors follows a very similar concept to Mala In Cuba, only they have been visiting Peru instead!
The albums opener Kotos instantly sets the tone, an accordion-like instrument takes centre stage alongside tuned percussion and dub wise rim shots. It oozes class with its live elements, especially when the plucked strings and woodwind instruments begin to creep in. Even though we are clearly in new territory Lawrence manages to sustain his dubstep trademarks, mysterious and intriguing drones and the sweet spot between major and minor. Unfortunately the next handful of tracks see him fall into bad habits, reminiscent of the Cuban album there are some awkward clashes of rather cheap sounding synthesis and drum hits. They’re Coming almost saves the day with more flutes and pan pipes around a tribal rhythm, however his over use of space sometimes takes away too much from the groove. Shadows is another sophisticated production with elements of IDM and even jungle permeating its percussion, although melodically there is little to hang onto and it feels more like a film score. Experimenting with different tempos is something that Lawrence has always avoided, maybe the recordings of local musicians have forced him to do so and the result is out of his comfort zone.
Cunumicata finally brings a much needed vocal to the project, reminiscent of the best tracks from Mala In Cuba. It’s truly a gorgeous piece of music based around an acoustic guitar and a female voice, it feels equally modern and traditional. These are the kind of pieces that will surprise listeners expecting a dubstep album, and at the same time will help to please the much wider audience that Gilles Peterson has introduced. Take Flight takes a similar stance and will excite both fans of sound system and world music alike, it sounds as if it has been immaculately planned and will no doubt find its way onto many BBC 6 playlists as well as film / documentary soundtracks. The musicianship is flawless and sounds as if it could be a live band, the guitar and drum elements stand out and cement this track as a definite highlight of the album so far.
The next section of the album returns to some tribal and psychedelic rhythms, it makes for some interesting listening and I am sure they will only improve with time. Looney however is is exactly what Digital Mystikz fans will have been waiting for, and will have them reaching for the volume control to really feel those subs. Its moody bass line and menacing orchestral section compliment the swing beats fantastically, the use of space and effects are dubstep perfection. When the distorted melody and metallic percussion join the party it really is a force to be reckoned with, this is Mala at his best. Markos Swagga is one that has had the internet in a frenzy recently, the tumbling hand percussion and Peruvian vocal shouts really get your toes tapping; as usual the second drop is where it all kicks off. The album finishes on a high thankfully with its last track being a blend of everything we have heard so far, the guitarists really must take a lot of the credit but Lawrence has managed to compliment these unfamiliar melodies more effectively than in previous attempts.
Even though the album has its flatter moments you cannot blame Lawrence for trying new things, his b-sides have always seen him experiment and this project was never going to be an exception. Overall the better tracks will shine through and the ratio of great to mediocre is a vast improvement on his last outing with Brownswood Recordings. They have achieved an album which can not only sit on the shelves alongside Anushka and Owiny Sigonoma Band, but will also happily get dropped by the likes of Goth Trad, Kromestar and the rest of the dubstep elite at Outlook in Croatia or Sub Dub in Leeds. Head down to your local Richer Sounds to hear this one for yourself. Of course, large floorstanding speakers or a subwoofer will help do it justice!…
