New Music From Toro Y Moi, Menomena, and Shlohmo

Today has been a particularly busy day for premieres. Throughout many of the internet’s various music outlets, relatively disparate artists Toro Y Moi, Menomena, and Shlohmo have unleashed never before heard songs on the unsuspecting masses. We couldn’t pick which was our favorite of the bunch, so we opted to share three of the tracks with you in one post.

Toro Y Moi’s new single “Leave Everywhere,” Menomena’s “FIVE LITTLE ROOMS” from the band’s forthcoming new LP, Mines, and Shlohmo’s cut from the upcoming Camping EP “Birthday Beat” are all included for you as stream, download, and other digital what-not, below.

Toro Y Moi - “Leave Everywhere”

Download as MP3

Birthday Beat - Shlohmo - Camping EP by FoFMusic

pictured Menomena

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New EP Coming From Shlohmo

SF and LA’s recent addition to the evergrowing wonky beat scene, Shlohmo has finished work on the follow up to his debut release for Friends of Friends Music, Shlomoshun Deluxe. The 20-year old producer Henry Laufer has finished a new EP, entitled Camping, which features four original tracks alongside remixes from beat makers the likes of Anticon’s Baths, Asura of Non Projects, and Shigeto from Ghostly International.

Though the EP has to gain an official release date, Shlohmo and his crew over at the WEDIDIT collective have done us the favor of delivering remixes of two tracks from our youth, Khia’s “My Neck My Back” and “This is How We Do It” by Montell Jordan. You can score those jams as a free download here, and peep the artwork for the Camping EP below.

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ShlohmoShlomoshun DeluxeFriends of Friends Music (2010) Genre: ElectronicRating: C+ I really wanted to like 19 year-old Shlohmo and his album, as young underdogs are consistently ignored (or, conversely, exploited) by labels. I usually enjoy writing reviews full of accolades and praise, but only as long as the sentiments can be wholeheartedly backed up. Unfortunately, for producer Henry Laufer and his re-released new record, Shlomoshun Deluxe, I’ve got to call it like I see it. Shlohmo clearly has skill and some clever ideas outside of being a blind follower of the Flying Lotus (and co.) sound. Blips, bass, stabs, field recordings, and the like are all meshed into leftfield, stutter-step hip-hop instrumentals. Though, when you hear something that doesn’t sound fully developed and the artist’s press release reads, “All the noise was run from the headphone port out to these monitors that I’ve had since I was 14. The tweeters are all pushed in and there’s absolutely no audible low end, so I have to physically touch the woofer to feel the vibrations from the bass,” well, it just makes one think about how much better Shlomoshun could be with more direction and focus. That isn’t to say new gear will necessarily make Shlohmo’s sound better, but a serious artist should be able to at least hear their beat. Still, I’m totally rooting for Laufer. His songs have elements that do work well (like the bassline on “Antigravity” and the beat on “Teeth”), but rarely does everything mesh to really get the head-nod in action (see “7am” and “Dead Pixel”). Shlomoshun’s highlights are actually the remixes by Fulgeance and Low Limit, which, again, speaks to the consistency of Shlohmo’s tracks on their own. It used to be that artists would submit their demos to a label, and, instead of just signing them and mastering the demo, the label would often give the artist some money, time, and motivation to focus on developing and recording their material. Shlomoshun Deluxe would have done well with that model. - Randy Ellis Listen:“Hot Boxing the Cockpit” Link:Shlohmo on Myspace

Shlohmo
Shlomoshun Deluxe
Friends of Friends Music (2010)

Genre: Electronic
Rating: C+

I really wanted to like 19 year-old Shlohmo and his album, as young underdogs are consistently ignored (or, conversely, exploited) by labels. I usually enjoy writing reviews full of accolades and praise, but only as long as the sentiments can be wholeheartedly backed up. Unfortunately, for producer Henry Laufer and his re-released new record, Shlomoshun Deluxe, I’ve got to call it like I see it.

Shlohmo clearly has skill and some clever ideas outside of being a blind follower of the Flying Lotus (and co.) sound. Blips, bass, stabs, field recordings, and the like are all meshed into leftfield, stutter-step hip-hop instrumentals. Though, when you hear something that doesn’t sound fully developed and the artist’s press release reads, “All the noise was run from the headphone port out to these monitors that I’ve had since I was 14. The tweeters are all pushed in and there’s absolutely no audible low end, so I have to physically touch the woofer to feel the vibrations from the bass,” well, it just makes one think about how much better Shlomoshun could be with more direction and focus.

That isn’t to say new gear will necessarily make Shlohmo’s sound better, but a serious artist should be able to at least hear their beat. Still, I’m totally rooting for Laufer. His songs have elements that do work well (like the bassline on “Antigravity” and the beat on “Teeth”), but rarely does everything mesh to really get the head-nod in action (see “7am” and “Dead Pixel”). Shlomoshun’s highlights are actually the remixes by Fulgeance and Low Limit, which, again, speaks to the consistency of Shlohmo’s tracks on their own.

It used to be that artists would submit their demos to a label, and, instead of just signing them and mastering the demo, the label would often give the artist some money, time, and motivation to focus on developing and recording their material. Shlomoshun Deluxe would have done well with that model.

- Randy Ellis

Listen:
“Hot Boxing the Cockpit”

Link:
Shlohmo on Myspace

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New Music From Toro Y Moi, Menomena, and Shlohmo
New EP Coming From Shlohmo

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