By the time Mark Lawrence traveled down to Cuba for the recording sessions that would become 2012's Mala In Cuba, dubstep had already mutated from its origins as a hermetic East London enclave to a world-conquering wobble. Lawrence was always one to find new angles on the sound—be it with his own productions or through his DMZ and Deep Medi Musik labels—and Mala In Cuba was no different. But in having Lawrence again go to the well, getting his passport stamped for another part of the world, there's an inherent risk of diminishing returns. Mirrors, though not quite "Mala In Machu Picchu," pits the dubstep producer against the native rhythms of Peru. Unfortunately, the album never completely melds in a manner that transcends each part.
The pan pipes of Asociacion Juvenil Puno twine around a timber-shaking thwack on the opener, "Kotos," but no momentum builds. The pipes echo and wheeze like someone out of breath from hiking towards that Incan citadel, the track continually stopping and starting. The track never gets deep during its four minutes, a trend that continues through most of Mirrors.
When it does work, the results show just how heady a mix of electronic and tribal traditions can be. "Cusco Street Scene" recalls the most thrilling peaks of Cuba—a bit of pipa, triumphant horns and ambient street noise give the icy veneer of early dubstep a sweaty makeover. As the name "Markos Swagga" suggests, the tricky percussion and attendant shouts give the track a boisterous strut, one of the colorful highlights.
Too often, though, the sonic elements just don't gel. Most of the tracks pass by without catching the ear. The most evocative moment is the album's quietest, a lone female voice singing the folk song "Cunumicita" with little more than a guitar and finger snaps as accompaniment. It's hard to say what Mala adds to the song (aside from low-end), but its unadorned state is enough. Where Mala In Cuba boiled, Mirrors barely gets to a simmer.
The pan pipes of Asociacion Juvenil Puno twine around a timber-shaking thwack on the opener, "Kotos," but no momentum builds. The pipes echo and wheeze like someone out of breath from hiking towards that Incan citadel, the track continually stopping and starting. The track never gets deep during its four minutes, a trend that continues through most of Mirrors.
When it does work, the results show just how heady a mix of electronic and tribal traditions can be. "Cusco Street Scene" recalls the most thrilling peaks of Cuba—a bit of pipa, triumphant horns and ambient street noise give the icy veneer of early dubstep a sweaty makeover. As the name "Markos Swagga" suggests, the tricky percussion and attendant shouts give the track a boisterous strut, one of the colorful highlights.
Too often, though, the sonic elements just don't gel. Most of the tracks pass by without catching the ear. The most evocative moment is the album's quietest, a lone female voice singing the folk song "Cunumicita" with little more than a guitar and finger snaps as accompaniment. It's hard to say what Mala adds to the song (aside from low-end), but its unadorned state is enough. Where Mala In Cuba boiled, Mirrors barely gets to a simmer.
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Published /
Fri / 24 Jun 2016 -
Words /
Andy Beta -
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Tracklist /
01. Kotos feat. Asociacion Juvenil Puno
02. Dedication 365
03. Cusco Street Scene
04. They're Coming
05. Shadows
06. Cunumicita (performed by Danitse)
07. Take Flight
08. The Calling
09. Inga Gani
10. Looney
11. Markos Swagga
12. Zapateo feat. Colectivo Palenke
13. Sound Of The River feat. Sylvia Falcón
14. 4 Elements
Leeds
Amsterdam
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