Artist Feature: Mala

Click here to listen to the Carhartt WIP Radio Show featuring Mala.

The words “built by Mala” stand out against a brightly coloured 12” vinyl. Across another selection, similar markings emerge – “built by digital mystikz,” “built by Loefah” and “built by Coki” – each a symbol of their influence on sound and a glimpse into their creative process.

“Today, when I sit down with no clear idea of what I’m going to make, I’m just building,” says Mala. “Creativity is serious, sacred, and spiritual, but it’s also about play. It’s about freedom, tearing things down, and rebuilding.”

Hailing from South Norwood, London, Mala (aka Martin Lawrence) has been a leading figure in electronic music since the early 2000s. As part of the DMZ crew alongside producers Coki and Loefah, as well as MC Sgt. Pokes, he pioneered a genre rooted in sound system culture – a genre we know now as dubstep.

Dubstep sent waves through London dancefloors in March 2005, when DMZ hosted its first club night in Brixton to a room of over 500 attendees, all tuned to sub-bass vibrations under the slogan “Come meditate on bass weight.” As a label, it released some of dubstep’s most defining tracks, including Mala’s “Anti-War Dub” in 2006. Later, Mary Anne Hobbs’ Dubstep Warz broadcast on BBC Radio 1 would launch Mala and DMZ to the forefront of the UK music scene, marking a turning point for dubstep worldwide.

That same year, Mala also founded his label DEEP MEDi MUSIK as a platform for more experimental bass music, with releases from global artists such as Kaiju, Silkie, and Goth-Trad. In 2012, he debuted his sole album LP Mala in Cuba on Brownswood Recordings, which blended his signature dubstep sound with Cuban rhythms. His sophomore project Mirrors followed on the same label, delving into the roots of Peruvian culture. He recorded local musicians and sounds, using these recordings as both source material and a blueprint for the album.

Twenty years since Mala first made his mark on the scene, his influence is as strong as ever. For this episode of Carhartt WIP Radio, the legendary producer and DJ created a mix featuring tracks from the DEEP MEDi vault, alongside some new releases. The mix is accompanied by a conversation with Mala, who discusses the duality of art and science in music-making, learning through trial and error, and the significance of an artist’s story in their work.

When we looked into your career, it seems there are two sides of Mala: the musician with a broad spectrum of influences. And the man who runs a label, loves organizing events, and brings people together as a social figure.

Mala: I think music has always been a way for me to connect. Initially, when I was growing up and discovering music, it was a personal journey - something to connect with and explore myself. I realized that my connection to music also connected my friends and I. And then, more unexpectedly, the music I was creating brought together what seemed like a random group of people. It wasn’t just my music but the broader dubstep scene that was emerging at that time. Music became a way for me to express myself freely, and in doing so, it somehow brought others together. That’s the heart of why I do music.

Were there some pivotal moments that led you to this path?

Mala: I got into music as a teenager. At 14, I was already performing as an MC at under-18 events, hosting well-known jungle DJs. We had lots of nightclubs and music venues in South London where I grew up, and I was involved from a young age. I saved up for turntables and spent my lunch breaks in a record shop, listening to jungle and hardcore. This was in the early 90s, around 93 or 94. When I started making music, I initially tried to recreate the jungle sound from the early, mid-90s. But as I continued to grow, more styles of music influenced me. Growing up in London and growing into a young man, I began to ask myself deeper questions about how I relate to the world and others. That personal exploration reflected in the music I was making. The fact that others resonated with those tracks was a pivotal moment for me - it made me realize that through music, I could express myself and connect with people. There wasn’t a single “Aha!” moment, but rather an unfolding realization that creating music is a form of freedom - a responsibility that I treat with care.

How do you approach creativity? Is it more from the heart or with a scientific mindset?

Mala: Both ways. There are moments in the studio when I have to wear the "science hat" and understand the technical side of things. As you develop as a producer, you hone those skills. But I also understood that going too far down the scientific route at an early stage in the process made my music feel sterilized and way too clinical. Some people might like that, but for me, there's a rawness and essence that suits my style, it’s those slight imperfections that makes my music process feel authentic.

You mentioned a long time ago that you would describe your work ethic as “building” rather than “producing.” Would you still say that today?

Mala: Back when we were first making music, we'd always have written on the DMZ records “built by Mala,” “built by Coki,” or “built by Loefah.” We'd talk about "building" a track rather than producing it. It was a natural part of how we spoke, and we’d say things like, “I’m building a beat.” It wasn’t something we consciously decided, it was just how we spoke. Over time, I've shifted the terminology a bit. Today, when I sit down with no clear idea of what I’m going to make, I’m just building. There’s a certain lightness to that, like I’m not taking it too seriously. But then, there’s also the reality that music is what feeds my family, so there’s a different level of responsibility and focus that comes with that. Creativity is serious, sacred, and spiritual, but it’s also about play. It’s about freedom, tearing things down, and rebuilding. Over the years, I’ve learned to adapt my approach depending on the situation, whether it's a more personal project or something that requires more focus and structure. Like transforming your music into another genre.

As you did in 2018 with the Outlook Orchestra at the Royal Festival Hall. That must have been an incredible moment, transforming your music into another genre in such a historic venue.

Mala: It was, yes. I had actually dreamed about that moment years before it happened. About ten or twelve years prior, I had this vivid dream. I grew up in South Norwood, which is in South London, and not too far from where I lived, there is the Crystal Palace Park. You have a kind of outside performance area. Bob Marley performed there before he passed. There are performances that happen now today as well. In my dream I was sitting in Crystal Palace Park, listening to an orchestra playing my tune “Anti War Dub.” I woke up from that dream thinking, "One day, I’m going to make that happen." So, when it finally did, it felt surreal.

Do you think in the future, dubstep music will be remembered the way we remember Bach, Beethoven, or Mozart?

Mala: [Laughing] I’d love that, of course! But I think it’s an impossible comparison. All music has its space and serves a purpose. But it's interesting, because the music that you speak of has lasted for centuries. Everything was written down so it could be replayed and replayed and replayed. Contemporary music the way we make it isn’t like that. Ok, everything is stored on people’s hard drives, some maybe one day will be remixed and replayed. So, it is hard to say if it will get remembered the same way. Popular music has its own significance, and I’d like to think that the legacy of sound system culture - through its influence on so many styles of music - will continue to be recognized in years to come. Whether that includes me specifically, I don’t know. What’s evident is our culture has had a lasting impact on how music is made today.

Sound system culture has always had a political edge. Your 2006 track “Anti War Dub” made a strong political statement. What are some social or political goals you try to meet today?

Mala: I think everyone brings their own story to their work. For me, as a label owner, I try to listen to the stories of the producers I work with, encouraging them to tell their truth as authentically as possible. The beauty of running an independent label is that I’m not beholden to commercial pressures. I’m free to release music I truly believe in, and I’ve been doing that with DEEP MEDi for almost 20 years now. I don’t actively try to make a political or spiritual statement with everything I do, but the way we run my label reflects my values. It’s a space for creative freedom, and that alone is a form of resistance in a world where everything is often driven by commercial gain. Tracks like “Anti War Dub” resonate because they are authentic, born out of a specific time and place, but the audience ultimately decides how that music is perceived. At the grassroots level, it’s not about manipulation or perception management - it’s about the truth in sound.

What does an artist need for you to work with?

Mala: For sure, the music must touch me - it has to resonate on some level. But it’s also about the story behind the artist and their dedication to their craft. The ethos of the label is about authenticity, freedom, and creativity. And the way I approached music 15 years ago is very different from how I do today, simply because music itself has evolved. Technology changes the sound. I can't always pinpoint exactly what I love about music. But when I feel it, I stand by it, and I want to share it with the world. That’s why I like to include new tracks in my sets and why I invest in artists and their projects. And at this level, it’s always a risk - that’s the game.

There are many challenges of running an independent record label for nearly two decades.

Mala: Keeping a label consistent - without gaps in releases for years - requires a lot of dedication and effort. And receiving recognition for your work, like winning the DJ Magazine Award in 2024, isn’t just a win for DEEP MEDi MUSIK; it’s a win for dubstep as a whole. It represents the roots of UK sound. Just because my label’s name is on the award doesn’t mean it’s only about us - to me it felt like a victory for the entire community.

So, it’s not about competition.

Mala: Back in the days, when we did early DMZ events, hearing tracks from artists like Skream, Benga, or Kode9, was inspiring. It wasn’t about competition or jealousy - it provided motivation. If one artist raised the bar, the rest of us wanted to step up our game. It was a sparring mentality: when one of us rises, we all rise. Unfortunately, when commercial interests start creeping into a scene, mindsets shift. That collective spirit isn’t always there anymore. But personally, I still think in terms of “we” rather than “I.” It’s always been a collective effort.

Running an independent label today isn’t just about business - it’s about giving back and helping younger artists grow.

Mala: You don’t run a label for yourself - you do it to serve others. When I sign an artist, it’s never a rushed decision. Sometimes, I’ll be playing the artist’s music for a year before we release anything. That can be frustrating for them because they want things to move quickly, but good underground music takes time.

How do you know when something is good?

Mala: When I listen to music, I know almost immediately - within eight bars, I know whether it’s something I can play in my sets. I have a system for shortlisting tracks, then taking a deeper listen to understand the producer’s vision. I prefer working with an artist for years rather than just putting out one record and moving on. It doesn’t make sense to me otherwise. Some producers create one or two great tracks and then never make anything again. So, part of my job is identifying those with longevity and helping them develop for the long run. It’s all about time, energy, and resources - you need to be cautious and maintain quality control in your process. If they send me ten tracks, I’ll narrow it down to five. Out of those, four might be tracks I play regularly, while the others are interesting to listen to. I always ask for their opinion as well. Together, we decide what works as a cohesive release. Sometimes it’s about making two or three tracks for the dance, but with other artists, it could be one or two tracks for the dance, and the rest more experimental for the heads. It really depends. That’s why it’s important to understand what the artist is trying to express through their music, and we aim to facilitate that as a label. That’s how we maintain originality. It’s not about trying to fit a specific style just to get on DEEP MEDi - that doesn’t work.

Speaking of DEEP MEDi, can you tell us about upcoming releases? You mentioned the 20th anniversary next year.

Mala: I don’t want to get into the details of our 20th-anniversary plans just yet, but we have some exciting projects for next year. As ever, we run events where we often don’t announce the line-up, especially in the UK. We’ve built a great audience that trusts the music and artists we showcase. It’s all about creating a sense of surprise, similar to how things were in the past when you didn’t know who was playing. We’re still very much rooted in that tradition, but also adapting to the changing times. The dynamics are evolving, and we have to keep up with them.

The pace of today’s developments in music making and performing is accelerating.

Mala: Yes. I think about how my DJ sets have changed over the years. When I first started, tracks were often five and a half to six minutes long. Now, many tracks are only three to three and a half minutes. Some are even shorter, like two and a half minutes, which is rare but still happens. This shift affects how I structure my sets - intros are shorter, drops come quicker, and as a DJ, you have to adjust your approach. I still enjoy letting tracks play out because sometimes the second drop is better than the first.

How do you stay up to date with all new music, though?

Mala: I’m fortunate to be in a position where I get a lot of music sent to me. Over the years, I’ve collaborated with so many producers, so there’s a constant flow of new material. I check out Bandcamp regularly, and I’ve spent plenty on there supporting artists I haven’t met. I rarely reach out to unknown producers myself; I prefer supporting their music directly on platforms like Bandcamp or through the record labels. And there aren’t as many record stores around any more, so I don’t do as much crate digging, but I still buy records when I can.

And how do you produce your own music?

Mala: I work in a hybrid system, digital and analogue. My main DAW is Logic, I have analogue synthesisers and effects, but it all depends on the project. I’ve been investing in this for decades now, so I have a comfortable set-up.

Playing live instruments still has a unique, human feel that machines can’t replicate, but the possibilities with digital tools are incredible.

Mala: For me, it’s a playful approach. My process isn’t about being 100% structured. Some days, I wake up and just feel like experimenting. Sure, I have my systems in place, and I fall back on certain things I’ve developed over the years. But overall, I have a lot of options. For example, I was working on a track for a vocalist last year and couldn’t get the bassline right. So, I called up a bassist friend, and once he added the live bass guitar, it was exactly what the track needed. I’m not precious about the creative process. I’m always open to whatever results work best for the idea I’m trying to bring to life.

Did you have any formal musical training?

Mala: My musical training has come from listening to music over the years and learning by trial and error. I never had any classical training. When you first get a keyboard, you quickly learn that those two notes together don’t sound quite right, but when you try another note next to them, it clicks. It’s been a process of learning through experience, and it’s about being comfortable with your own taste and trusting your instincts. Once you start worrying about outside opinions or what you're “supposed to” do, that’s when blockages happen. It’s important to stay true to what you feel and want to create.

Within all the work you do, how do you balance your family and music life?

Mala: Over the years, I’ve had to find a balance, and it hasn’t been easy. But with time, you figure things out. Understanding and communication are key. I’m so grateful for my family and have their support.

Parenting is not just about the stresses, but also about the energy and growth it brings.

Mala: Exactly. In ideal circumstances, it’s such a blessing. My mom recently said how loved she feels. She has four children, and we always take care of her. As a parent, I think that’s when you really see the fruits of your labour. When you get older, you still enjoy family and feel supported and surrounded by love.