Review Summary: DJ Boring is back for another set of corporate adcore bangers
Mirrors, the latest effort from DJ Seinfeld, will either be pleasantly enjoyable or aggravating to any given listener. Although this record presents a major sonic progression for the producer from his lo-fi house debut, it comes largely at the cost of any personality whatsoever. Like trading in an illegal rave in a basement for a champagne toast on a private yacht, the new sound in Mirrors feels expensive but soulless. All the songs stick to a certain formula, and your enjoyment of this record will largely depend on your tolerance for that style.
Take the perfectly inoffensive “Walking With Ur Smile”, for instance. A simple loop of rolling drums introduces the track, with the addition of a hi-hat and an occasional short build section being the only deviations of this rhythmic pattern. On top of this part, multiple parts of Rhodes keyboard and synth slowly develop from being content in the background to simmering in the forefront of the mix. Non-lyrical and pitch-shifted vocals fade in and out, intent on inserting some emotion into the track but failing to leave any feeling after their presence ends. These elements repeat themselves for about four minutes before ending with a filter down-sweep and fade out.
This song is fine in the moment, but has incredibly diminishing returns beyond the first play in the background. Generally this would be acceptable as filler material on a full-length album, or even as a chill placeholder in a DJ mix between more captivating tracks. The problem is that this type of track makes up the entirety of the record, turning Mirrors into a 42-minute compilation-esque slog.
Ironically, the tracks on Mirrors that succeed the most are those that don’t aspire to be more than mood music. “These Things Will Come to Be” is quite pretty, with rhythmic chord stabs reminiscent of some of deadmau5’s work from 10 years ago and lush pads that serenely float above the track. In the moment, these elements combine to form an almost hypnotic experience. While not distinguishable as a DJ Seinfeld song (bar the emotional voice during the breakdown), this track is fairly enjoyable and stands out. “Song for the Lonely” is also notable, particularly by the addition of drums that recall DJ Seinfeld’s earlier lo-fi house material and sidechained pads that could be described as luminous.
Unfortunately, though, the rest of the record is a glut of paint-by-numbers house that seems more primed for a Spotify Premium ad than a dancefloor. The record can’t break loose of its formula and seems content to stay in its lane. Barring its few bright spots, actively listening to this record in one sitting is a taxing proposition. If you are looking for a no-frills listening experience that doesn’t demand anything from you, you may very well enjoy this record. Personally, though, I can’t help but see Mirrors as evidence of yet another expendable dance music producer incapable of moving to the album format.
