Los Angeles artist and musician Shlohmo returns with a vinyl repress of two of his defining albums: "Bad Vibes" and "The End". From the first sounds of Henry Laufer"s early work, it was clear he was forging a new path in electronic music - melding hazy textures, emotive melodies, and fractured beats into a sound both intimate and expansive. Bad Vibes introduced Shlohmo"s lo-fi, slowmotion approach, crafting emotive atmospheres that would influence a generation of West Coast producers. The End, a cinematic journey of chaos and calm, cemented his status as a visionary, blending apocalyptic tension with moments of quiet reflection, made with drum machines, vintage synths, and improvised recording techniques.

Trackliste
1.1Rock Music
1.2The End
1.3Hopeless
1.4Eating Away
1.5Headache of the Year
1.6Ungrateful
1.7Staring at a Wall
2.1We Sat in the Car
2.2Panic Attack
2.3Watching a Video
2.4The Best of Me
2.5By Myself
2.6Still Life

Listen https://open.spotify.com/intl-de/album/0no9vd20lVRbHZooRhqUHb?si=KXiOy2Q9TC6A5_F_G-lRhw&nd=1&dlsi=e9dc2a9c690b45b2

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“Heaven Inc.” was featured on Shlohmo’s 2019 BBC Essential Mix and seeing first official release after being heavily requested by fans


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Shlohmo is acclaimed electronic producer, designer and composer Henry Laufer, a staple in the independent Los Angeles music scene since the release of his seminal 'Bad Vibes' LP in 2011. His high profile collaborations with artists like Chance The Rapper, Jeremih, Joji and others as well as the Wedidit Collective (RL Grime, Ryan Hemsworth, D33J etc) in which he founded has and roots in the Low End Theory movement brought him international acclaim and a cult-like following clammering for 'The End,' his third full-length and first since 2015. "The album is vaguely about the end of the world, but from the viewpoint of smoking on the couch during the extinction event. Reading a nice book while the meteor hits. The fake peace of insularity during chaos," he says about his new record. Dread and angst and an eery sense of calm merge together to create something truly special as this one of a kind artist takes his next step forward into his unique genre-defying depths.

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Shlohmo is acclaimed electronic producer, designer and composer Henry Laufer, a staple in the independent Los Angeles music scene since the release of his seminal 'Bad Vibes' LP in 2011. His high profile collaborations with artists like Chance The Rapper, Jeremih, Joji and others as well as the Wedidit Collective (RL Grime, Ryan Hemsworth, D33J etc) in which he founded has and roots in the Low End Theory movement brought him international acclaim and a cult-like following clammering for 'The End,' his third full-length and first since 2015. "The album is vaguely about the end of the world, but from the viewpoint of smoking on the couch during the extinction event. Reading a nice book while the meteor hits. The fake peace of insularity during chaos," he says about his new record. Dread and angst and an eery sense of calm merge together to create something truly special as this one of a kind artist takes his next step forward into his unique genre-defying depths.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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Germany
Contact: [email protected]More

Los Angeles artist and musician Shlohmo returns with a vinyl repress of two of his defining albums: "Bad Vibes" and "The End". From the first sounds of Henry Laufer"s early work, it was clear he was forging a new path in electronic music - melding hazy textures, emotive melodies, and fractured beats into a sound both intimate and expansive. Bad Vibes introduced Shlohmo"s lo-fi, slowmotion approach, crafting emotive atmospheres that would influence a generation of West Coast producers. The End, a cinematic journey of chaos and calm, cemented his status as a visionary, blending apocalyptic tension with moments of quiet reflection, made with drum machines, vintage synths, and improvised recording techniques.

Trackliste
1.1Rock Music
1.2The End
1.3Hopeless
1.4Eating Away
1.5Headache of the Year
1.6Ungrateful
1.7Staring at a Wall
2.1We Sat in the Car
2.2Panic Attack
2.3Watching a Video
2.4The Best of Me
2.5By Myself
2.6Still Life

Listen https://open.spotify.com/intl-de/album/0no9vd20lVRbHZooRhqUHb?si=KXiOy2Q9TC6A5_F_G-lRhw&nd=1&dlsi=e9dc2a9c690b45b2

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Running with Scissors is the third full-length album from Canadian trio Afternoon Bike Ride and a cathartic heart ache and, ultimately, a therapeutic exploration of what it means to be alive—to love, to grieve, to regret, and to grow.

Listening link: https://listen.k7.com/9ba39487-fcb0-49bf-a5b7-ae90838029a3

Tracklist
1.120 Seasons
1.2Otherworld
1.3See Me Old
1.4Beautiful & Treacherous
1.5Reincarnated
1.6Abigail
1.7Couch Interlude
1.8Oh No!
1.9New Bliss
1.10Miss Universe
1.11Feel Through
1.12Aurora
1.13Running With Scissors

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"Do you dream too?" Tomemitsu"s Martin Roark asks on his sophomore album with Friends of Friends Music. The question is also what stemmed from the album title, "Dream 2", a shorthand written in the lyrics. "Dream 2" is quite possibly Tomemitsu"s dreamiest LP, if not his most diverse. It is brimming with both new territory and nods to his past. This record reveals a more buoyant side to accompany his traditionally spaced out productions.

Tracklist
1.1Quick Enough
1.2Do You Dream Too?
1.3A Little Light (On You)
1.4Dream Queen
1.5Losing My Mind
1.6Pizza With You
1.7Health Insurance
1.8Pocketbook
1.9Do You Know?
1.10You Matter To Me

Listening link: https://listen.k7.com/26d8b33b-28b7-4bc9-a69d-187adf11ad87



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Released on Friends of Friends, "A Free Mind" is a masterpiece by producer and multi-instrumentalist Sweatson Klank (FKA Take) and an all-night party of boogie funk, ‘80s modern soul, Japanese city pop, Balearic disco, AOR, and 90's house.

A1 MOVE FREELY
A2 THE LIMIT FEAT. AYA
A3 SWEAT'S BOUNCE
A4 NO OTHER FEAT. TIFANNY PAIGE
A5 SUMMER SAND
A6 DRIFTWOOD FEAT. ILLINGSWORTH
B1 STOP TALKING FEAT. STEVE SPACEK
B2 STUCK INSIDE YOUR LOVE FEAT. AUMMAAH
B3 CIRCA 95
B4 CAN I GO
B5 NOT ALONE FEAT. GIRLS OF THE INTERNET

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Tomemitsu launched his music career out of his bedroom in Echo Park, Los
Angeles. Early singles "in dreams" and runaway" found their way onto HBO's
High Maintenance soundtrack and his knack for dreamy, freak-folk became a
signature trademark.
After debuting on the label Friends of Friends with a collaborative single “I’m
just waiting for your love” featuring tour mate & Coachella performers, Steady
Holiday, he shared a new EP: the I’ll Be Alright EP ahead of his full-length
follow-up album entitled ‘Sun’ made up of Bedroom Pop, Indie-Folk and feel
good Indie Rock.
For Fans of: Real Estate, Soccer Mommy, Jay Som, Lala Lala,

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“Heaven Inc.” was featured on Shlohmo’s 2019 BBC Essential Mix and seeing first official release after being heavily requested by fans


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WAS - Word and Sound Medien GmbH
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Germany
Contact: [email protected]More

Shlohmo is acclaimed electronic producer, designer and composer Henry Laufer, a staple in the independent Los Angeles music scene since the release of his seminal 'Bad Vibes' LP in 2011. His high profile collaborations with artists like Chance The Rapper, Jeremih, Joji and others as well as the Wedidit Collective (RL Grime, Ryan Hemsworth, D33J etc) in which he founded has and roots in the Low End Theory movement brought him international acclaim and a cult-like following clammering for 'The End,' his third full-length and first since 2015. "The album is vaguely about the end of the world, but from the viewpoint of smoking on the couch during the extinction event. Reading a nice book while the meteor hits. The fake peace of insularity during chaos," he says about his new record. Dread and angst and an eery sense of calm merge together to create something truly special as this one of a kind artist takes his next step forward into his unique genre-defying depths.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Shlohmo is acclaimed electronic producer, designer and composer Henry Laufer, a staple in the independent Los Angeles music scene since the release of his seminal 'Bad Vibes' LP in 2011. His high profile collaborations with artists like Chance The Rapper, Jeremih, Joji and others as well as the Wedidit Collective (RL Grime, Ryan Hemsworth, D33J etc) in which he founded has and roots in the Low End Theory movement brought him international acclaim and a cult-like following clammering for 'The End,' his third full-length and first since 2015. "The album is vaguely about the end of the world, but from the viewpoint of smoking on the couch during the extinction event. Reading a nice book while the meteor hits. The fake peace of insularity during chaos," he says about his new record. Dread and angst and an eery sense of calm merge together to create something truly special as this one of a kind artist takes his next step forward into his unique genre-defying depths.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: [email protected]More

C.L.A.W.S. comes to Dark Entries with a new ripping LP, Splat City II. C.L.A.W.S. is the solo project of musical luminary Brian Hock, who has been a key figure in the Bay Area underground for over two decades via his involvement in projects like Bronze and The Vanishing, as well as helming the record labels Squirrels on Film and Immortal Sin. With C.L.A.W.S., Hock takes on the dancefloor, picking up cues from the Hague’s Giallo-dipped electro, the skewed minimalism of Chicago acid, and the mind-rending forays of San Francisco post-punk icons like Chrome and Tuxedomoon. Following 2019’s inaugural Splat City EP, Splat City II continues to map the psychogeography of a metropolis both alien and immediately recognizable, one where life is cheap, but so are the thrills. Previously released on Squirrels on Film in digital-only format, this expanded vinyl edition of Splat City II features two new cuts. Things kick off with “Route 505” and “One Tear,” a duo of rompers that vibe like Tom Ellard and Chip E locked in a room with a vial of liquid. Next up, Bay Area deckmaster Tyrel lends his editing chops to “Vigilant Slimy Monsters,” sculpting a moody space disco beast. Squirrels on Film co-founder Solar teams up with Hock for “Black Magic Carpet Ride III,” a cavernous downtempo banger. The slow-mo pace continues with “Wild Slugs United,” which features the no wave-esque clarinet work of Paul Costuros. Closer “Don’t Flip the Crystal Ship” pays homage to Bayview venue Bay Area 51 with melancholic strings and a quartz-solid electrofunk bassline. Splat City II comes in a sleeve with artwork by Bert Bergen, which features a vampiric cat and sci-fi cityscapes.

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Khruangbin did not know if they were actually making an album. All they knew in the first frigid days of 2025, as they shivered in the Central Texas barn where they’ve recorded almost all of their music, was that the 10th anniversary of their debut, The Universe Smiles Upon You, was steadily approaching. Months earlier, they’d bandied about ways to mark the occasion, debating orchestral arrangements or compendiums of bonus materials and alternate takes. Thing was, back before Khruangbin helped establish a new modern idiom of semi-instrumental and gently psychedelic American music, there had been no bonus material, no unused songs. And how interesting would alternate takes or symphonic extravagance really be for a band whose aesthetic—essential vibes, infinite grooves, riffs that rippled across the horizon—seemed so direct and pure, anyway? What if, they had instead wondered, they went back to the barn where it all began and recut the record that had started it all, on the actual 10th anniversary of those sessions? They decided, at least, to try.

It did not take long for Laura Lee, Mark Speer, and DJ Johnson to know that the idea was indeed a good one, that in holding up a mirror shaped by the past 10 years to their formative set of songs they could feel and hear how they had changed as people and players. The result is The Universe Smiles Upon You ii, 10 entirely new renditions of the songs from Khruangbin’s oldest album, played and sequenced in a way that works for them now without being strictly allegiant to who they were then. Watchful eyes, for instance, will notice that “Bin Bin ii”, a bonus track back in 2015, has moved toward this album’s center. More importantly, attentive ears will hear how liberated Khruangbin sound from any expectations rendered by their own success, how this is once again the sound of three longtime friends deciding how this material might move in real time.

The barn is an essential piece of Khruangbin lore. In 2009, many years before Khruangbin’s early singles started to shape their course or even before they were really a band, they began to head to the barn, bought by Speer’s parents in the ’80s on a modest cattle farm midway between Houston and Austin. They’d been looking for a place to rehearse in Houston when Speer’s parents volunteered the spot and the small house next door—three bedrooms downstairs, dorm-style bunks above, a century-old stove in a small kitchen. The process was so consummately D.I.Y. that, when they convened there in January 2015 to make what would become The Universe Smiles Upon You, Speer and Lee rushed to remove a nest of bees by playing bass and smashing cymbals loudly before Johnson (famously not into bees, mind you) arrived. They made the record for $1,500.

This time around, Khruangbin decided to try a few functional updates. They finally ripped out the plywood dancefloor that had been installed for a wedding nearly two decades earlier but had since become something of a sanctuary for critters that would inevitably destroy any gear left behind. They rented a new floor, then bought silent new space heaters and boxes of hand warmers that they’d stuff into gloves during sessions. The first day was Central Texas paradise—T-shirts in January, the sun shining as they set up their instruments, ran cables, and even recorded the seven-minute version of “Two Fish and an Elephant” that appears here, the rhythm that Lee and Johnson built offering a welcoming group hug for Speer’s flickering lead. But then the cold set in, a cold so gripping that they stuffed bits of construction flotsam into every crack and crevice they could find inside the barn. They moved closer and closer as the four days progressed, as if trying to absorb one another’s radiant heat.

Perhaps, then, that’s why The Universe Smiles Upon You ii feels so warm, as if they were tending a fire simply by playing together. Early into “August Twelve ii,” Johnson watched an eastern meadowlark sing just outside the barn, its song picked up by the microphones. It wasn’t their favorite performance, but they knew it captured the magic of the time and place, the yellow beauty’s melody calling these six gorgeous minutes to order. They are likewise jubilant during this very extended take on “People Everywhere (Still Alive),” applying the lessons about pace, momentum, and dynamics they’ve learned during a decade on the road to start and sustain this dance party. It is an immaculate map of the moment.

Funnily enough, while on tour with this electric trio during the last several years, Speer became fascinated with early European instruments that could sound full without being loud—the viol de gamba, for instance, or the clavichord. He imported that enthusiasm into these sessions, not only often playing acoustic guitar alongside Lee’s hollow-body Höfner bass and Johnson’s brushed drums but also covering instruments in contact mics, so that they sounded close and real. You can hear that pursuit clearly on “White Gloves ii,” a song that has become such a Khruangbin staple they initially struggled with how to remake it here. When Johnson suggested it become “country disco,” though, the track suddenly unlocked. A rural-funk canter buttresses the bittersweet vocals and twilit guitars; the recording makes it feel as if you’re sitting in the center of the barn, head pressed between the bass amp and bass drum as Khruangbin drift away.

In many ways, The Universe Smiles Upon You ii represents the close of Khruangbin’s first chapter, the complete culmination of the music they made when they arrived at the barn in January 2015. During the last decade, they have reached an apotheosis of sorts, their love of Thai pop and heavy dub and American soul and Ethiopian haze perfectly crystallized in a string of splendid records and live shows that have hypnotized massive theaters and festival crowds alike. They’ve repeatedly sold out the United States’ most famous venues, from Red Rocks and Forest Hills to the Hollywood Bowl and Radio City, and they’ve crowned festivals from Glastonbury to Bonnaroo. Paul McCartney plucked them to reimagine one of his songs, while they’ve collaborated with Mali legend and band inspiration Vieux Farka Touré to honor his late father on 2022’s Ali. After more than a decade of relentless touring and recording, their expertly polyglot 2024 album, A LA SALA, helped earn a Grammy nomination for Best New Artist. Not bad for a band that recorded its debut in a barn of bees and mice for a grand or so.

So, then, what is next? The Universe Smiles Upon You ii provides a point of pause for Khruangbin, a chance to step back from a sound they now know so well and figure out where it may go from here. They talk about woodshedding, about spending a few hours every day with their instruments to see what new shapes they can make. Khruangbin’s splendid next run, then, begins where the first one did, too—in the barn, finding their way into the world through the songs of The Universe Smiles Upon You, second time even more absorbing than the first.

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Fatsouls is proud to present Trinidadian Deep’s Sonic Vibrations project. The EP is a powerful collection of four independent tracks. With dreamy pads, chants, layered percussion and tubby chords, captivating keys, and a jazz bass line, this package creates a rich, ethereal soundtrack. As you might expect from him, this production is infectious. Take a deep breath and listen!

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Gaudi’s Jazz Gone Dub is a masterclass in genre fusion, seamlessly blending the improvisational essence of jazz with the heavy atmospheric grooves of dub. Known for his eclectic approach to music production, Gaudi pushes the boundaries yet again, creating a sonic landscape that feels both nostalgic and refreshingly innovative.

Four years in the making, from the opening track it’s clear that Jazz Gone Dub is more than just a mashup of styles—it's a thoughtful exploration of the intersections between two rich musical traditions.

Gaudi’s multi-instrumental talents are on full display, and the presence of reggae royalty is palpable, courtesy of rootsy melodies from David Hinds (Steel Pulse), Jah Wobble’s iconic bass grooves, Ernest Ranglin’s intricate guitar lines and Sly & Robbie’s rhythmic genius. Add Sardinia’s Train to Roots band, Manu Chao collaborator Roy Paci, veteran guitarist Marcus Upbeat, Mr Woodnote and Tim Hutton’s brass work, Gavin Tate-Lovery’s sultry sax and flute, Horseman’s percussive flair plus Colin Edwin and Vlastur’s serious basslines, and the
result is a rhythmic foundation that’s both solid and fluid, allowing the jazz elements to float freely above the dub undercurrents.

Despite this star-studded line-up, Gaudi remains the glue that holds this gem together: his production is meticulous yet organic, allowing each track to breathe and evolve naturally. The use of space, delays and reverb—a hallmark of dub music—is expertly handled, giving the album a dreamy, immersive quality. Tracks like Susceptible and Alabaster Moon showcase Gaudi’s ability to create mood and atmosphere without sacrificing melodic and rhythmic complexity.

In Jazz Gone Dub Gaudi has crafted an album that feels both timeless and forward-thinking, a celebration of musical synergy where the free-spirit of jazz meets the deep resonance of dub. Whether you’re a fan of either genre or simply appreciate masterful musicianship and innovative production, this album is a must-listen.

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Noumen returns to Central Processing Unit after a six-year absence with Altum. This bumper record, the Ukrainian artist's fourth release for the Sheffield label and first since 2019 double-LPObscurium, serves to remind us all why Noumen's music has been lauded by the likes of Mixmag and Resident Advisor in the past.Altumis a consummate piece of contemporary electronic production, a technoid exploration of outer-edges electronica that nods to genre greats like Autechre while still maintaining its own unconventional charm. Across well over an hour of music here we find Noumen repeatedly playing punchy mid-tempo beat work off of some more cerebral tuned synths.Altumkicks off with the epic 'Oion' - beginning in that Autechre/AFX mid-tempo zone, full of deep-sea bangs and whirrs, the track slowly builds to a final stretch of delay-drenched keys which set us free amidst the outer cosmos, almost Sun Ra-style. It's a perfect liminal-space roller and an apt scene-setter forAltum. 'Oion' provides a blueprint for several of the album's other highlights - plenty of the joints here adopt that same approach of hitting hard with the drums and soft with the synths. Second track 'Splitter' takes on the baton from 'Oion' while souping up the kick to warehouse levels; the beats in 'Far Wind' splutter like a needle skipping on a mid-90s Tresor drop; 'Fate Carette', all eerie looped synth leads, is a highlight as the album enters the home straight. The rhythm production (which, it should be noted, is exemplary throughoutAltum) is ratched up in intensity on a handful of numbers. 'Telemask' displays a delightful breakbeat - if you'd told me this was sampled from golden age A Tribe Called Quest, I'd have believed you. Mid-section anchors 'Awe' and 'Axis' are glitchers in the Mike Paradinas mould, with the latter showing off some pleasing steel pan-esque synth leads for good measure. And whileAltumgenerally maintains a processional pace throughout, there are points where Noumen toughens up the drums for club deployment - 'Unveilness' shows off a real chunkiness in the low end, closer 'Spurling Sign' plays a satisfying rolling groove off of ever-layering synths, and the title-track is an alien machine-funker in keeping with fellow CPU electronauts like Silicon Scally and Cygnus. Noumen's third album for Central Processing Unit is a pleasingly hefty double-LP which builds on the zany invention of acts like Modeselektor and Autechre to delightful effect.

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Following our acclaimed Chez Damier release, Skylax proudly welcomes back the brilliant Byron The Aquarius. A true craftsman from Alabama, Byron blends the spirit of Detroit's deep house with live jazz energy, echoing legends like Theo Parrish and Moodymann. This new EP, Afrofuturism, is a statement of intent: four deeply musical tracks rooted in soulful rhythm and cosmic funk. From the spiritual groove of the title track to the introspective dub of Sunday’s Ain’t The Same, this is Byron in top form — keys blazing, grooves flowing. With past releases on Sound Signature, Axis, Eglo, Apron, and Shall Not Fade, Byron’s music continues to light up the underground from Detroit to Berlin. Artwork by H5 – the legendary studio behind visuals for Daft Punk, Air, and Vitalic. Whether you’re a house head or jazz lover, Afrofuturism is a timeless piece for real dancers and dreamers. Strictly for the heads. Vinyl only. No repress. Skylax Records.

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