MALA Vinyl & CDs

Review: Even before you hear the first beat, there is something incredibly exit about seeing the names Male - a pioneering beat master and pivotal figure in the early emergence of the dubstep sound - with Joe Armon-Jones, talented musician and master keys man. A Way Back comes on Aquarii, Armon-Jones's own label with him on keys and synths, Mala on drums and bass and Maxwell Owin featuring on 'Oh Lord'. It brings back memories of the golden dubstep years with cavernous bass and heavy weight drums all finished to perfection with Armon-Jones top lines.

Review: It's not so often we get to enjoy a DMZ release these days, but as you might expect this is primal dubstep that continues the tradition of the earliest forms of the music. Coki's "Marduk" plys his preferred trade in mid-range tweakery. While there's an endless legion of imitators melting faces the world over with this style, it's the restraint Coki exercises that belies his roots in the sound. Mala meanwhile opts for a drawn out slab of dread with a steadily rising synth that is as deadly as it is understated, proving that the originators always do it best.

Review: From Cuba, Mala heads south for another mystic adventure in international cross-pollination on Mirrors, the Deep Medi man's latest LP-length bubbler for Brownswood. Fusing inspirations, energies, talents and techniques from Peru - and working with some of the country's most respected musicians - it's another immersive body of work that genuinely sounds like no other. From the pensive tribal march of "Cusco Street Scene" to the shimmering twangs and dusty, languid claps of "Zapateo" by way of demented insistency of "Looney" and the muddy cosmic textures of "The Calling", Mala has once again immersed himself so deeply into a culture and musical discourse that he not only speaks it fluently but has added to its rich vernacular. Vinyl was invented for albums like this.

Review: From Cuba, Mala heads south for another mystic adventure in international cross-pollination on Mirrors, the Deep Medi man's latest LP-length bubbler for Brownswood. Fusing inspirations, energies, talents and techniques from Peru - and working with some of the country's most respected musicians - it's another immersive body of work that genuinely sounds like no other. From the pensive tribal march of "Cusco Street Scene" to the shimmering twangs and dusty, languid claps of "Zapateo" by way of demented insistency of "Looney" and the muddy cosmic textures of "The Calling", Mala has once again immersed himself so deeply into a culture and musical discourse that he not only speaks it fluently but has added to its rich vernacular. Vinyl was invented for albums like this.

Review: Deep Medi come correct once more, issuing these two retools of Mala classics from Distance and Commodo. In contrast to Jim Blake's Harmonimix of "Changes" that was finally issued earlier this year, Distance takes a more classicist approach, wisely basing his refix around those seminal vocal harmonies and implementing his own heavily weighted drum and bass arrangement. On the flip, Commodo takes on "Miracles" which lurches forth with precision whilst feeling notably looser than Mala's original.

Review: The grand finale of Mala's critically acclaimed Mala In Cuba LP, "Noche Suenos" (which roughly translates to Night Dreams) receives a much needed extension from Mala himself and the man Simbad. With plenty of focus and attention paid to the joyous bottom end and tricked out reverb effects on Danny Suarez's vocal, it's a perfectly weighted homage to traditional dub science. Faultless.

Review: Whilst James Blake's current career path has had a decidedly marmite effect on the general public, listening to this Harmonimix of Mala's "Changes" proves beyond doubt the producer's talent for crafting emotive, though provoking electronic music. The story allegedly goes that Blake one day sent the Deep Medi boss the remix via email, commenting with typical modesty "I've just done a remix". This particular remix of all Blake's specially tailored self Harmonimixes is perhaps the one that achieved mythical status - they are all superb but "Changes" just feels that extra bit special. This might have something to do with the fact it's been a dubplate weapon of the lucky few for roughly three years, but the sheer shuddering brilliance of the track is stunning.

Review: Mala unearths a couple of stone cold classics from the DMZ vault. If you have paid attention to Mala's DJ sets over the past seven years you'll immediately recognise the vocal sample and complex rhythmic thrust of "Stand Against War", with its dub roots and ominous atmospherics. The relatively newer cut "Maintain Thru Madness" (it's been floating around since 2010) is all about the pitter-pattering percussion, which sits high in the mix above oodles of sub bass pressure and requisite siren hits. Do. Not. Sleep. On. This.

Review: Mala's album project comes to light with a healthy amount of expectation. The DMZ / Deep Medi Musik main man has always carried a reverence amongst the dubstep scene for his unfussy approach, staying true to the sound he helped forge in the nascent days of the genre while avoiding over-exposure or buckling to hype and trend where so many of his peers succumbed to change. As such this project sees the man well outside of his comfort zone as he tackles a specific album project whilst sticking his head more clearly overground to work with Gilles Peterson on an adventure in Cuba working with local musicians. This is most definitely Mala's music, and the spiritual, tribal nature of his productions to date only gets enhanced by the influx of Cuban folk sounds. This is no simple case of ripping samples and dropping them for token effect though; the percussive patterns and licks of piano, guitar, horns and voice are completely interwoven into the South London pressure as if they were always meant to be. It's testament to the pure approach Mala takes in the studio that he manages to balance these unlikely bedfellows to such fluid effect. Undoubtedly there will be naysayers who will argue that in doing an album of this nature Mala is diluting his purist vision for dubstep, but in truth the approach and end results he has managed to conjure up bring a revitalising, fresh angle to the genre, which is what it needs in abundance. There's maybe a lack of the "shock of the new" factor as Cubano music is not exactly a stranger to UK dance music forms, and Mala isn't exactly switching his own stance too drastically, but ultimately that doesn't matter. The whole album is direct and immensely satisfying to listen to, capturing the alluring spirit of South American folk tradition and empowering it with the transcendental nature of dubstep in its finest form.

Review: Mala's album project comes to light with a healthy amount of expectation. The DMZ / Deep Medi Musik main man has always carried a reverence amongst the dubstep scene for his unfussy approach, staying true to the sound he helped forge in the nascent days of the genre while avoiding over-exposure or buckling to hype and trend where so many of his peers succumbed to change. As such this project sees the man well outside of his comfort zone as he tackles a specific album project whilst sticking his head more clearly overground to work with Gilles Peterson on an adventure in Cuba working with local musicians. This is most definitely Mala's music, and the spiritual, tribal nature of his productions to date only gets enhanced by the influx of Cuban folk sounds. This is no simple case of ripping samples and dropping them for token effect though; the percussive patterns and licks of piano, guitar, horns and voice are completely interwoven into the South London pressure as if they were always meant to be. It's testament to the pure approach Mala takes in the studio that he manages to balance these unlikely bedfellows to such fluid effect. Undoubtedly there will be naysayers who will argue that in doing an album of this nature Mala is diluting his purist vision for dubstep, but in truth the approach and end results he has managed to conjure up bring a revitalising, fresh angle to the genre, which is what it needs in abundance. There's maybe a lack of the "shock of the new" factor as Cubano music is not exactly a stranger to UK dance music forms, and Mala isn't exactly switching his own stance too drastically, but ultimately that doesn't matter. The whole album is direct and immensely satisfying to listen to, capturing the alluring spirit of South American folk tradition and empowering it with the transcendental nature of dubstep in its finest form

Review: The highly anticipated Mala 12" on Gilles Peterson's Brownswood imprint has landed. Unlike Mark Lawrence's previous releases, which are primarily expressive of the UK urban environment, Cuba Electronic relies on Latin American influences to delve deeper into the artist's own personal take on dub music. The title track on Side A sees Mala bring out his trademark percussion but this time it's more grounded in tribal roots, where skipping bongos and heavy hi-hats collide with his well-known love for subbass levels.On the flip, "Calle" is further based around Cuban musical heritage, where a fast, progressive percussion makes way for stunning trumpet samples and shiny melodies. Another fine instalment of UK-flavoured electronic music from the gifted Mala, which comes in heavy 180gm vinyl!

Review: This is a brand new DMZ release. Both sides are built by Mala. "Lean Forward" rolls casually into brisk tumbling snare patterns and an insistent surging bassline technique. The vibed up synth-chording and driven repeater drums take over, with a militant steppers bassline propelling a true and full dancefloor joint most effectively. "Learn", on the flip, surprisingly incorporates a sample last encountered on Three Sinister Syllables, which asks "why haven't you learned anything?" over an immense descending low end, which seems to gather barometric pressure, consistent with a trip many leagues below the sea. This is top notch stuff.

Review: Now on its fourth or fifth re-press, this is one of the most distinctive records in Mala's early career and has subsequently been blessed with one of the most distinctive productions in James Blake's career with his much sought after Harmonimix. The harrowed processed vocal soul and tick-tock riddim of "Changes" remains as timeless and heart-stopping as it was in 2007 while "Forgive" remains as deep, driving and full of attention to rhythmic details. A genuine classic, unless you've got a spare couple of hundred for one of the original presses, this is a very wise time to invest.

Review: Mala returns with some guaranteed killers. "Bury Da Bwoy" is another up-tempo dubber which should seduce the dance community in every way. Effortlessly spanning the divides between dub, techno, broken beat and garage, any new 12" from these guys is an event in itself. Limited quantities!

Review: "Left Leg Out" should become the defining four four dubstep crossover cut - destined to perpetuate dubstep's inexorable outer national movement. From the opening chords you could be forgiven in thinking this was a brand new dub techno cut - the hook is just one of those ready made classic riffs, vibing hihats, and the drop? Well - let us assure you, this is quite simply put, one of the tracks of 2006. You know how quickly these bad boys sell out - so get on it now - good and early!

Review: Brownswood return to Mala's triumphant LP from last year in triumphant fashion, calling on the masterful Theo Parrish to rework "Como Como" on this rather enticing looking 10" slab. As one of the few vocal cuts to feature on Mala In Cuba, it's natural that the Sound Signature boss would look to "Como Como" when invited to remix a track from the LP and in his hands the soothing tones of Drieser & Sexto Sentido are brought to the fore. Additionally instead of a complete reinvention, Parrish opts to extend the track adding his own twinkling synth lines to complement Mala's luxuriant chord patterns. Contender for remix of the year?

Review: Hyperdub kick off the vinyl side to their ten-year celebrations with this weighty four-tracker from some of the leading lights from the label's story. Mala is in a strident mood with "Expected, Level 10" carrying through that extra touch of melody from the Mala In Cuba LP. DVA cuts loose with the leftfield scattershot groove of "Technical Difficulties", reveling in tonal experimentation and jagged rhythmic flair to a stunning end. Still locked into the sci-fi trap tangent that characterised Severant, Kuedo turns out the haunting "Mtzpn" and Helix pops up for a remix of Kode9's "Xingfu Lu" that strips down to bare essentials with a little starlit soul rubbed into the framework.

Review: Dub maestro Mala joins forces with prominent British writer, dub poet and Rastafarian Benjamin Zephaniah and Natty for this heavy hitting, hand-stamped 12". "I'm a bad man anyway, this is my sound" says Zephaniah with real passion as spaced out pads and delicate chords soften his battle cry, and his musings on the black man's struggle, righteousness and Rastafarianism play out in absorbing fashion. Best believe this one is going to become a real cult favourite, not least because of the exceptional sound design and sense of space inherent in any Mala tune.