Henry Laufer, the mind behind Shlohmo has come a long way since he first began piecing together beats in his bedroom studio. He’s even become bitter toward the industry he’s a part of, and for good reason. Since releasing his debut LP Bad Vibes in 2011 and creating the WeDidIt imprint in his L.A. apartment, he’s seen his fair share of struggles, ultimately showing him the darker side of the music business. “It’s the fakest part of the whole fucking thing” he said, referring to his troubles with Def Jam records, who decided to shelve his collaborative EP with Jeremih for no apparent reason. Though the EP saw an eventual release on WeDidIt, increasing frustration led to Laufer not only banishing all label influence on his music, but also artistic collaborations. It’s only natural that Laufer’s next release would see him writing in seclusion, focusing only on making music that felt right to him. The result is Dark Red, a patchwork of menacing compositions that balance abrasive and meditative aesthetics to create a stark and vivid image. Field Recorders and organic samples are as much a part of Dark Red as they were in Bad Vibes, it just seems like Shlohmo has a few more ingredients in his kitchen this time around. Hip Hop, R&B, Drum & Bass, Ambient, Noise, IDM, Jungle and more all add to the dense textures on Dark Red, but none take a drivers seat as a foreboding darkness retains control of the LP. Despite the seemingly skewed influences, Dark Red is surprisingly poignant as a whole and a deeply engaging listen, displaying some of the most dissonant but oddly pleasing pieces this beat-smith has released yet.
It comes as no surprise that the themes presented on Dark Red are born out of isolation, with Laufer rejecting all outside influence, aside from a small feature from labelmate and friend D33J. It’s clear that Shlohmo isn’t trying to pander to anyone else’s ideals but his own, and such passion shines through the unifying blackness on Dark Red. Described as “if Electric Wizard tried to make an R&B record, or Boards of Canada meets Burzum by the River Styx”, Dark Red exists to challenge listeners; it isn’t meant to be immediately gratifying. At many moments it’s both loud and quiet, shrill but soft, and intimidating while still completely engaging. Only after repeated listens do some of the shadowed intricacies of Dark Red begin to show, making for a different experience every time you listen. Instead of imploring the common verse-chorus-verse blueprint to his work, the pieces on Dark Red take shape and grow as the songs progress, often reaching cacophonous climaxes before the swirls of instrumental downpour begin to let up. Pieces like “Buried” start softly enough, but as layer upon layer is stacked atop the initial melody, a darker and denser image begins to develop, which only serves to draw listeners in more. Things are decidedly louder this time around, which is a move that makes sense given Laufer’s trajectory.
Shlohmo has been displaying an increasing affinity for dissonance and distortion in the EP’s he’s released since Bad Vibes, and Dark Red takes this ideal to a new height. Songs like “Slow Decent” are introduced in a familiar way, with layered guitars easing the melody along, but only until fragmented layers of drums pile atop giving the song an unexpected surge of adrenaline. This, as well as the Jungle drive of “Meet Ur Maker” or the Drum & Bass quickness of “Fading” display some of the busiest beats that we’ve heard from Shlohmo, but still remain calming through as low building and lethargic underlying melodies. The fragmented jolts in songs like “Emerge From Smoke” or “Relentless” could easily enter Flying Lotus or Holly Herndon territory given a different melodic framework, but are kept in Shlohmo’s court as a mix of organic recordings and dissonant electronics amble beneath. The melodies may meander along, but they aren’t always as welcoming as they were on Shlohmo’s past releases. “Ten Days of Falling”, the albums first track features a shrill synth that makes you question if something is broken, but that’s what Shlohmo wants. He’s pushed his hardware to the point that it sounds sickly on Dark Red, and it’s oddly hypnotizing. Vocal samples sound as if they were recorded through a broken microphone, certain guitar phrases sound as if they’re being pumped through a blown-out amp, and his dad’s Jupiter-6 sounds like it’s seen better days. He’s intentionally challenging listeners with these tracks, striking a powerful balance of noise and melody that is rarely seen in beat-music today.
Shlohmo wanted for Dark Red to be his loudest release yet, and in that he succeeded. It’s easily his most confrontational release yet, with multiple moments that are not only in your face, but screaming in your face. Yet, Dark Red remains wholly welcoming through Shlohmo’s attention to detail. It’s an honest display of the spectrum of style that Shlohmo has acquired over the years while still acting as a natural follow-up to the organic minimalism of Bad Vibes. The textures are thicker, the beats are busier, and the themes are darker, making for the most complex musical statement Shlohmo has made yet. “I don’t look at my albums as production. That’s me trying to make a painting” – unlike the cover art may suggest, Dark Red is a vivid and hauntingly beautiful image.
Rating: 3.7/5