For a little while Yours Truly have been curating a series of studio sessions in which various producers and vocalists are filmed recording a song, documenting the entire creative process from beginning to end. Songs From Scratch has seen an impressive list of people grace its studios including Lunice & Angel Haze, Danny Brown & AraabMuzik, Joey Bada$$ and now Shlohmo and Jeremih have been paired up to write and record a track together.
After the storming success of his self-titled debut EP and a well-aimed remix for Shlohmo, Soosh is ready to release his debut full-length LP. Entitled ‘Colour Is Breathe’, the album will reportedly feature the trademark “low-slung hip-hop” and shoegazey loveliness we’ve come to enjoy from the Glaswegian producer.
With a lot of high profile remixes under his belt (Soulja Boy, GonjaSufi, etc.), Shlohmo‘s back catalogue is drawing a lot of attention. To meet with and reward this demand, Error Broadcast are re-releasing his 2009 debut ‘Shlo-Fi’ with some added bonuses.
In preparation for his new album, California-based Shlohmo has just put out a mix for FACT magazine. As a response to his continued association with the “LA Beatmaker” scene, he’s put together an incredibly diverse mix; Tears For Fears, Three 6 Mafia, Charles Manson and Tom Waits all feature
Bit too much R&B for my tastes but Tears For Fears, Tom Waits and Charlie Manson were a treat, albeit a jarring one. I really like the shaky quality and the track listed simply as “Broken Sinead O’Connor tape” is pretty funny; like a DJ’s very first attempt at scratching.
This is what Shlohmo had to say about his FACT mix: “I listen to a lot of different shit, so it’s kind of all over the place, both in genre and in sound quality. There’s some old shitty 64kpbs mp3s, some found cassettes, some broken cassettes, some music by friends, some Charles Manson, some screwed and chopped, you get it all.”
Download the mix below by clicking on the arrow on the right. It’s only available for three weeks, mind, so grab it now.
To take on the task of remixing a revered bit of work like 2007′s ‘Shell Of Light’ is nothing short of ambitious – and brave for that matter. The reputation of Burial’s work precedes it; the cultural status of the record has rendered it archetypal Dubstep as well as a precursor for the “post-Dubstep” movement in equal measures.
To improve upon a track like this is no mean feat, but Shlohmo is actually pretty restrained in his approach. Slowing it down to almost half speed, he basically just spreads the sounds out, allowing them to breathe. The haunting vocals are subdued slightly, but the beautiful ethereal quality is left intact; a must for this track.