The comparisons are rather crass to be frank though, and essentially the product of a lack of imagination. This journey of dubstep goes pop has found Woon being compared to the other current wunderkind of the scene, one James Blake. Jamie Woon has the vocal abilities that you wish could follow you around and narrate your life he’s the kind of guy who could sell out arenas just by simply reading the phone book. And he’s been dubbed the voice of this often talked on scene simply because of, well, his voice. And they did this because here was an artist that truly gave a voice to a world that’s long been speculated on, yet only penetrated and explored by a handful of listeners who make a habit of avoiding the kinds of places that Woon has ultimately found himself mixed up in. A scene he was never really a part of, but placed in by the same publications that have spent the last several months building him up as the savior of dubstep and all its affiliates. Stripped of all but the most necessary archetypes of the genre and muddied up just a touch, Woon’s debut, while indebted to the darker melodies of such luminaries as Ramadanman and Will Bevan, shrugs off the more murky underpinnings of his breakthrough and attempts to emerge as a vocal champion for the underground scene. Upon noting that the success of Jamie Woon’s debut long player hinges entirely on whether or not the artist in question can actually sing a note to save himself, Mirrorwriting reveals itself as nothing more than a bona-fide pop album. Review Summary: While proving to be a success, Mirrorwriting also reveals that Jamie Woon might be riding the success of his famous friends to get him to the top

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