Mala in Cuba
On his first proper LP*,* the dubstep pioneer set himself to an ambitious task. Challenged by musical sage Gilles Peterson to mix soundsystem culture with the traditional melodies and instruments of Cuban music, Mala traveled to Havana to retrieve those sounds from their source.
Love it or loathe it, that glitzy "wub wub wub" sound championed by Skrillex and such is a far cry from the texture-rich music of Burial, Benga, and Digital Mystikz, that last name being the South London duo with whom producer Mala broke through.
Mala in Cuba finds the dubstep demi-god attempting to redefine his praxis through collaboration with a host of top-level Cuban musicians. Easing the listener in by way of the supple and evocative Mulata, Mala makes it clear that he’s not interested in compromising his bass weight and by the time we get to Changuito it’s obvious that something very special is going on, as claustrophobic high-pressure bass bridles moodily against frenzied percussion and layers of delirious, droning horns.
Mala - Mala In Cuba review: Mala's first release as a transient for Gilles Peterson might not be lacking in ideas and passion, but unlike its motive its execution is, at times, a little questionable