Album Review Mura Masa - demon time

An undeniable rush to your systems, and a deliciously futuristic one at that.

Mura Masa - demon time

Those illusive early hours, led by mischief and bad decisions, sliding at full speed into whatever the next adventure may be: there’s something magical about that time where the sun seems to be part of the distant future and the sole focus is whatever is lit under flickering street lights. On the stratospheric ‘demon time’, Mura Masa captures that sense of being unstoppable and on top of the world - perhaps because he is himself. Now three albums in, the producer has consistently shown his unfailing ability to shake things up. There’s no use trying to keep up or guess at what might come next when each of his records have been a genre and expectation-defying masterclass in reinvention. Here, he reimagines beloved garage hits, calls upon a host of big-name collaborators to lend their talents, and refuses to be restrained by following a certain route. He refreshes 2004 classic ‘bbycakes’ by inviting Lil Uzi Vert, Shygirl and PinkPantheress, while elsewhere calls upon close friend slowthai to make the fidgety ‘up all week’. ‘prada (i like it)’ is a spellcasting dance moment, filled with glitchy beats and an insatiable hook. By contrast, ‘tonto’ enlists the help of Isabella Lovestory to deliver a lightheaded, pop-leaning reggaeton track: both somehow blend seamlessly into the record’s breakneck narrative. His is a universe where being up to no good is celebrated and there’s an abundance of over-excited jitters that keep you bouncing to each wildly mercurial moment. ‘demon time’ is an undeniable rush to your systems, and a deliciously futuristic one at that. Its arrival comes delivered with a sly wink: Mura Masa has caught you by surprise once again.


Tags: Mura Masa, Album Reviews

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Noughties But Nice: Mura Masa

Noughties But Nice: Mura Masa

Simultaneously packed with nostalgia and a modern dream cast of collaborators, ‘demon time’ finds Mura Masa concocting a time-spanning party for the ages.