" On July 29th of last year Ras G left this planet.

The only way to cope with this loss was to communicate with my friend through these beats

After recoup the Shorter family will receive all funds ??

All beats by Kutmah
Premasters by Black Monk
Mastered by Zeroh
Cover photo by B+
Layout Stephen Serrato

TRACKLIST
G Speaks...
Beat Soup
Time For Luv Is Here and Now
G's On The LightCode / Rays In the Sun
Another World...
Ohhh Raas Vanglorious
Spacebased Iz[wid] the place
In The World...
Diggin At Poobah [Fa Sho]
Raw Fruit 3000
Black Dusty Rhodes
Arons Shout Out...
Dublab Rooftop
See Y'all Soon...
Tha Most High
On Tha Planet
Come To The Light
Leimert To Pasadena
Annunaki Riddim
Leimert to Berlin
ASP 404
Ghetto Sci-Fi Music
Transform-Outro

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Mirrors is the second album by endlessly influential South London producer Mala. It follows his 2012 Brownswood release where Gilles Peterson invited the producer to soak up Cuba’s music and culture to turn the results into Mala In Cuba. But Mirrors is less Mala In Cuba Mk II and more the realisation of a creative method that works for this most understated and intuitive producer: digging deep into the roots of a culture, recording local musicians and sounds, and using the recordings as source material and storyboard for a record. The product of repeated visits to dive into Peru’s music, it revolves around tempo and flow, working local Afro-Peruvian percussionists, grassroots tap dancers and an Andean soprano into its fourteen tracks. Mala went there for a month, visiting Lima along with Cusco and the Sacred Valley just outside of the capital. “I was introduced to music from the jungle, music from the mountains, Andean sounds, native sounds, Afro-Peruvian music,” says Mala. “It all goes back to the roots and the rhythms and I related instantly. That primal rhythm is in all of us.” Dancers bring another sound to Mirrors’ palette. Colectivo Palenke are masters of Peru’s stomping battle-dance, zapateo, and their feet-first percussion graces the track titled ‘Sabateo’. On ‘Sound of the River’, meanwhile, you can hear field recordings of a stream running through the Sacred Valley and soprano-anthropologist Sylvia Falcon. It’s a fragile and human performance that soothes and uplifts in equal measure, and it’s a most subtle production.“
Mirrors is a bridge joining Croydon and Lima. It creates a link between traditional instruments made from donkey jawbone and dried-out pumpkins and the contemporary box of tricks inside Mala’s laptop. Like all bridges it links the past to the present, giving a clear view of where Mala has been – and where he’s going next.



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Brownswood Recordings are proud to present fresh material from Gang Colours, backed with three killer reworks. Machinedrum busts out clattering junglist breakbeats and rainbow synths; the hotly tipped Ifan Dafydd musters a richly textured skittering dub; and Deft slowly builds a hypnotic vacuum groove, rising to a glorious crescendo of billowing synths. Striking out in June 2011 with his debut EP ?In Your Gut Like A Knife? - a neat summary of Gang Colours, aka Will Ozanne?s electronic excursions at that point - the beautifully artworked 12? acted as a portal into a world of daydreams, tumbling into shadows and embracing luminescence simultaneously. Breeding surreal headphone-friendly landscapes, he struck a peculiar and delicate balance between otherworldly and familiarity, at times sneaking a sly glance towards the dancefloor but mostly conjuring a sense of longing and rye melancholy. Since that he?s been holed up in his hometown Southampton recording his forthcoming debut album ?The Keychain Collection?. Taking a step back from chopped ?n? screwed R&B vocals and the swing of UKG, ?The Keychain
Collection? explores more sombre recesses within Gang Colours? palette. The scattered Technicolor synth melodies that characterised his EP are present, but softer? cosier even? weaving betwixt and between forthright piano chords and Will?s own vocals.

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Striking out in June 2011 with his debut EP ?In Your Gut Like A Knife? - a neat summary of his electronic excursions at that point - the beautifully artworked 12? acted as a portal into a world of daydreams, tumbling into shadows and embracing luminescence simultaneously. Breeding surreal headphone-friendly landscapes, he struck a peculiar and delicate balance between otherworldly and familiarity, at times sneaking a sly glance towards the dancefloor but mostly conjuring a sense of longing and rye melancholy. Ticking with a distinctive bounce and rhythm, it comes as no surprise that Gang Colours was raised on the bump and grind of UK Garage. Taking a step back from chopped ?n? screwed RnB vocals and the swing of UKG, ?The Keychain Collection? explores more sombre recesses within Gang Colours? palette. The scattered Technicolor synth melodies that characterised his EP are present, but softer, cosier even, weaving betwixt and between forthright piano chords and Will?s own vocals.
?The Keychain Collection? eloquently captures Gang Colours? first steps on a long road.

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