The Mirage is an introspective bit of dubby dream pop that, despite clearly being fused with melancholy channeling problems and tragedies in Jess Labrador and Shannon Madden’s recent lives, comes out the other side as a charming and calming affair. Over light and confident electronic dub and synthpop beats and basslines run light echoing guitar melodies and soft, slow, feminine vocal tones.
The poppier moments include “Every Heaven In Between” which, save for a slightly more hollow and washed-out production quality (a deliberate one, rather than a criticism), might be reminiscent of early 90’s Electronic, or State Of Grace.
However for the most part it’s more wistful, slow affairs like “Gratuitously Cruel” which, despite its title, sonically doesn’t sound cruel at all. Adopting elements of electropop that are at times both modern, not that dissimilar to chart electropop ballad material, but also retro with shades of wave, there’s a steadiness and richness to them that justifies and easily fills each song’s generally six-to-seven-minutes-ish running time. The dubbier points, like opening track “Shadow” or the very endearing “Tears In The Morning Sun”, also have shades of the fusion of electronic and dub sometimes ploughed by The Orb and others, while The Mirage is a slightly more grimy and gothic affair which seems to have its sights set firmly backwards.
As expressions of grief go it’s rather measured and controlled, but the result is an accomplished three-quarters-of-an-hour sonic indulgence that will be appreciated by those who prefer their soul-searching and shoegazing to be a touch on the lighter side, but still very sincere.