5 years ago I don’t think anyone could have predicted so many electronic producers openly embracing an R&B crooner like Jeremih – exciting collaborations like this are a testament to how far it’s all come (specifically referring to R&B here). Just a few years ago R&B was generally considered a dirty word, untouchable by near enough everyone – even at times long-time fans; But having gone through a semi-URL-rebirth over the past few years it’s back on the tips of everyones tongue and in a good way. #Cyclelife.
Shlohmo mentioned in an interview we did with him in Seattle late last year that his favourite song of 2012 was Jeremih’s ‘F*ck U All the Time’ (which you’ll remember he remixed) and that he wanted to work with him properly in the studio – well here’s the fruits of that wish. ‘Bo Peep’ (Do U Right)’ was recorded as part of Yours Truly & Adidas’ ‘Songs from Scratch’ series, the drowsy slow jam sees Shlohmo delve deep into his multilayered influences (is that a ‘Tainted Love’ sample?) and has Jeremih singing a typically come-hither set of verses.
Shlohmo’s recent pairing with How To Dress Well excited a lot of folk last week (myself included) and so the full stream of his highly anticipated new EP Laid Out (courtesy of Pitchfork) couldn’t have come sooner. Boasting five new songs the release seems to reflect a growth in Shlohmo’s productions – now more so than ever before his beats form captivating and enigmatic compositions full of unraveling suspense and emotion.
… Still excited to hear that pending Jeremih collaboration too.
To be honest I’ve been looking for an excuse to bring Sky Girls’ obscure single ‘Under Attack’ back to the top of the site, so this new remix from The-Drum offers the perfect opportunity. Amidst the plentiful offerings of R&B-incarnations that sprout up daily (not complaining… yet), things have admittedly begun to feel a little convoluted; But every now and then something like this (or this or this) drops and we’re offered a brief moment of prospective.
In actuality The-Drum deviates very little from the original version of ‘Under Attack’, instead they tweak elements and work on creating a more dense environment using vocal reverb and well positioned effects. In this instance less is more.
When two worlds collide like this the results will always be special. ‘Don’t Say No’ divulges in Shlohmo’s love for R&B (during a chat last year he mentioned to us that his favourite song of 2012 was from Jeremih, who he’s recently been recording with also) and rather rightly calls on Tom Krell, known more commonly as How To Dress Well to piece it all together. Shlohmo lays down unraveling and immersive slow jam of shattered beats and elongated synths as HTDW’s fragile, sometimes fractured vocals tell a tale of heartbreak. ‘Don’t Say No’ is taken off Shlohmo’s upcoming Laid Out EP, due out on March 4th viaFriends of Friends/WEDIDIT.
Coincidentally both Shlohmo and How To Dress Well appear (separately) in RBMA’s H∆SHTAG$ web-series on internet music culture – watch HTDW’s episode on #AltR&B here, Shlohmo’s episode to be released soon.
Red Bull Music Academy have launched a new series called H∆SHTAG$ (produced by PinBoardFilm) which looks to explore the influence the internet has had on music and it’s many emerging sub-cultures. Across it’s six episodes (to be released weekly) H∆SHTAG$ looks to discuss different ideas that have been nourished, nurtured and/or birthed by the internet and it’s interconnecting technologies. Featuring exclusive interviews from Flying Lotus, TNGHT, Mount Kimbie, AlunaGeorge, Shlohmo, Charli XCX and many more, the series will also features opinions from predominant journalists, tastemakers and bloggers from across a wide spectrum of digital platforms, print and digital media.
The first episode Don’t Call It #AltR&B features How To Dress Well, producer Jeremy ‘Zodiac‘ Rose (The Weeknd), R&B futurists Rochelle Jordan & KLSHand Grammy nominated singer Miguel. It focuses on the re-emergence of contemporary R&B and whether or not the internet has played a role in it’s current form. Don’t Call It #AltR&B also talks to Alex Macpherson (The Guardian), Melissa Bradshaw (The Quietus) and Erik Kirtley (Indie R&B).
Beatsmith extraordinaire Shlohmo going beyond the call of remix duty again, putting out an absolute lip biting turn for Jeremih’s buzz record ‘F*** U All The Time’. It’s bump n’ grind, in a cave, surrounded by fuzzy alien critters taking notes. If you haven’t heard Jeremih’s recent mixtape yet, treat yourselves to more unparalleled smuttiness here.
Shlohmo marks the 11th anniversary of Aaliyah’s passing with an enigmatic remix of her (controversial) posthumous single ‘Enough Said’ featuring Drake. Originally produced by Noah ’40′ Shebib, Shlohmo’s version uses bellowing subs, electronic embellishments and screwed vocals (from both Aaliyah & Drake) to build a dramatic new alternative.
Brand new video from L.A / Montreal based duo LOL Boys in support of their Shlohmo remixed single ‘Changes’. A considerable departure from their original and from Star Slinger’s recent reworking, Shlohmo’s rendition is by nature a lot more introspective and shadowy, as is it’s all black & white video…
Star Slinger’s consistency is kind of staggering considering his output over the past year or so; His reptutation quickly established him as one of the go-to British remix producers, lending his talents to a diverse selection of artists that includes Mount Kimbie, A$AP Rocky, Jessie Ware, Drake, to name but a few. Time and time again he’s been able to apply his love for colourful 2-Step, Soulful Hip Hop and golden-era R&B onto often unsuspecting and unexpected songs. And now, following on from their dramatic Shlohmo remix last week, the LOL Boys employ the Mancunian beatsmith to again deliver a light, tropical, for-the-dance re-imagining.
If you enlist Shlohmo for a remix, expect a 360 transformation like this and then take it one step further with a chop & screw courtesy of BeeAreAyeDee. Having released ‘Changes’ earlier this week, Los Angeles / Montreal based duo LOL Boys have their single warped into a contrastingly dark, pitched down burner with screwed vocals and haunting clicks. Where the original was upbeat, shiny and catchy, this final outcome is left sombre and enticing to the Nth. Very nice.
