Future beats, eclectic soul, forgotten gems, and timeless sounds… All brought to you by Joe Kay. This is Soulection.

With over 600 radio shows aired to date, the Soulection catalog is as large as it is diverse. Future beats, R&B, jungle, trap, and garage all get a little love from Joe Kay. Each episode is a music connoisseur’s dream, brimming with fresh releases and artists that invariably deserve more recognition. Joe Kay goes above and beyond typical track curation. He is a true taste-maker, one who has taken over a decade to help solidify a space for these genres to inhabit.

Album and EP releases aren’t a new foray for Soulection. The first Soulection Compilation album was released in 2011. Other notable compilations such as 3 Years of Soulection, the Stussy Collaboration, and a slew of White Label releases followed in the coming years (all of which are available for free on their website here). Soulection Radio Mixtape 001 is the first mixtape of its kind in the discography, featuring a number of radio-show exclusive tracks and blends that haven’t been formally released prior (and which longtime fans are sure to recognize). The album consists of returning Soulection OGs such as Sango, Jared Jackson, and ESTA., alongside more recent newcomers to the label like love ave. and Flwr Chyld. From the sultry strings of Sango’s ‘Overnight Love’ live mix to the bustling drums of JAEL‘s ‘Think of You Jungle Edit,’ this compilation is chock-full of gems.

You can join in on the anniversary celebration with the SoundCloud tracks below, or check out the Bandcamp page here for the full versions of all tracks. We’re really looking forward to year 14, Joe, so keep up the stellar work.

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All the glitz and glamour that comes with being a childhood star takes a heavy toll on one psyche. You’re an innocent soul to shelter against the machine, only for corporations to value you as a commodity. Hands marred by greed sought to smear any sense of individuality, desiring to make you into the next overproduced, manufactured pop star. Their interest rarely aligns with the child’s personal development, and distrust is the currency in that transaction.

In turn, the trio — made up of Jadagrace Michiko Gordy-Nash, Coy Stewart, and Tyrel J. Williams — also known by their stage name Jadagrace, SWIM, and TJOnline, decided to put their faith in each other. Natured by the shared disillusionment of their experience in the film industry, grouptherapy. was born to express themselves how they want, when they want. 

Jadagrace secured her first significant role in ‘Terminator Salvation’ in 2009. After being discovered by Redfoo. Then, being mentored by Motown Legend Berry Gordy and Smokey Robinson, she released her first single, ‘Run Dat Back,’ in 2012 with Epic Records. SWIM, formerly known as KOI, caught his big break when he landed the role of Travis Young in a stage production of ‘A Rasin In The Sun.’ From there, he appeared on the TBS ‘Are We There Yet?’ and Nickelodeon’s ‘Bella and the Bulldogs.’ TJOnline, the eccentric yet contained rapper of the group, was nurtured to be a musician. He rose through the Hollywood pipeline, featuring in the 2005 film ‘The Naked Brothers Band: The Movie’ and starring as a singing voice in ‘The Backyardigans‘ for Tyrone. 

The first public appearance of grouptherapy. was by accident. SWIM’s ‘S.I.N. Part II’ music video shows Jadagrace, TJOnline, and SWIM together in a vehicle, casually supporting their friend. Despite creating music together years prior, the three of them, alongside a couple of other friends and producer Dee Lilly would officially have their musical intentions a year after ‘S.I.N. Part II’ dropped. 

Their first studio album, there goes the neighborhood. boasts their unorthodox styles in its most authentic fashion. Behind an ebullient soundscape, the collective seems to embrace its status as “newcomers,” hoping to create a change they want to see. There were teases of the change they wanted to see (“I just sold a show and still ain’t made a fuckin’ cent, uh/That don’t make no sense, uh“) but no centralized theme that connected it all.

Truth Be Told does something different. Everything is better: from the production, their songwriting, making their sounds feel fuller, and their execution. Multiplicity in sounds, the overall feel of the album is volatile. On the title track, ‘Truth Be Told,’ creamy keys and Jadagrace’s background vocals texturizes the scenery for TJ to open up about his inability to forge new connections. Only for that melt away by drums to remind him who he is. It’s a balance between acknowledging the perks of being a star and humanizing themselves despite it. 

Strip away the sprightly percussion, lush vocals which reinvigorate, and the hyphenated production that careens between chaotic and festive; at its core, Truth Be Told is a journal encompassing the shared experience of three friends. Friends who want to show that they’re humans by showcasing a photo book filled with remarkable memories and reading aloud journals detailing their trauma. The freedom to be themselves instead of playing out someone else story. 

“When we’re writing and making music, we can say exactly what’s on our minds,” The group agreed in unison. “Even when it comes to the music videos because the music is a reflection of who we are, we end up being ourselves on camera.” 

By nature, group therapy is inclusive. With a room full of strangers replaying traumatic episodes one after another as if Netflix’s algorithm struck a goldmine, folks from different walks of life all share deep experiences that feasts itself in the dark. The kind of darkness that hides beneath the belly of mountains, scared of the light as if it’s a Goblin who resides in Middle Earth. It forces you to understand that you’re not alone, while not making all about yourself. The beauty of the act of group therapy is solidarity in that each person has their story to contribute, and everyone is there to commiserate.

Similarly, everyone gets their time to shine in grouptherapy. ‘Pink Paper’ is dazzling with its swirling keys, with Jadagrace speaking on police brutality, the loss of her father, and how it’s led to how untrusting she is. On the punchy percussion-heavy ‘Risky,’ SWIM stands on the podium alone, boldly telling those who doubt him that they’re nowhere close to reaching the heights he has reached. TJ anchors ‘Truth Be Told’ and ‘Mistake,’ regulating SWIM and Jadagrace as if they’re his featured artists. Everyone gets to opportunity to be the main character in their own story, and the others have no issues playing a supporting role. 

“That’s what it’s always been about for us,” they stated. “and when we don’t force everyone to have the spotlight at the same time, we’re all able to shine individually.”

Their shared journal narrates the doom that weaves between the riches for all of us. The only way to escape its clutches is to see the truth, the light that awaits at the end. But how when you can’t even get up and open the blinds? We all go through so much to survive, and it’s only so much we can take.

The realization that you can’t work yourself to happiness bears down on all of us. It’s pervasive, arrogantly displaying itself in every aspect of our lives. To escape work means to live, and that’s not a choice afforded to many when work is what keeps the lights on for another month. It’s a prevalent theme for the collective. So much is going on in their day-to-day lives. Friends, family, and even therapists see the toll it has on them. “You really gotta stop working/I told him try me,” TJ shouts on the chaotic soundscape of ‘Tribal.’ It’s detrimental to justify your worth and success by constantly overworking yourself. SWIM adds, “She said, ‘you working like there’s three of you/ but it’s only one of me.” on their 2021 single ‘Light Day Cypher,’ as if his worth is based solely on his work.

It makes sense. They grew up in an environment that chewed and spat out adults with disrespect as children. Each day, they strived to prove they belonged. Seeking the vindication of their hard work but also the validation of knowing they deserve, even if it wears them down mentally.

Truth be told, I want to get a little personal. When listening to the album, I felt everything they shared. Depression is a magus that deludes me from my very sense of reality. Relationships built to be a source of security become abandoned; scarce with visitors. I hear a cynical voice, vouching to be unapproachable, alone when I don’t want to be. It’s exhausting to look in the mirror and spurt affirmations I don’t believe in. And like a magus, it spreads itself to its next victim.

Would you be able to trust anyone when you’ve been exploited for your talents since? Both the music and film industries have been known to sell a bill of goods, master sales clerks who could sell water to a megayacht. The status symbols that come with such a status come with shady characters, dwelling in both the water and blood. 

“We’ve learned that many people have a different view of you when you’re a public figure, and they also sometimes have an agenda.” The group said. “We try and keep the circle small and make sure that people around us are genuine.”

The theme of the album is simple. Your pain is no more significant nor less meaningful than others; it’s just as valid. But don’t ever forget to celebrate the wins, to never underestimate your achievements. The only reason why the dark dwells in the belly of mountains is that the Sun is illuminating everything surrounding it. 

The post From Child Stars to Rising Rappers, grouptherapy. Lets Each Member Shine in ‘Truth Be Told’ [Interview] appeared first on FUXWITHIT.

There are times when words are sensory overload that complicates emotions rather than evokes them. While they can paint a picture of our experiences, words could be daunting to take in. With Gradients, 92elm sought to alleviate that pressure to examine by permitting us to feel. It’s palliative and airy, aiming to use its breezy Lo-Fi aesthetic to lift your mood the same way pilots use the wind for takeoff.

Known for his future bass sound backed by lush vocals, the Philadelphia producer often layers his vocals an octave lower when paired with the main vocalist. The result is a texture that is ethereal alongside dazzling instrumentation. Despite his song’s cheery nature, there are themes tied into the final product to feel for ourselves. On his last project, Patience, 92elm unwound from a slow, organic sound of fear to utilize both his voice and electronic elements more as he overcame them. It’s a reminder that time heals all but only when the effort is there.

His latest project, Gradients, departs from his usual sound, experimenting more with chill hip-hop elements to create a minimalist aesthetic. Composed of instrumentals, Gradients symbolizes the alluring glimmers of the sun to the dazzling sight of the moon with shades of orange and blue.

From start to finish, the sequencing of the album is intentional. A quick examination of the album cover hints at a day and night cycle. ‘Opal’ is misty and damped, with sharp sensory piercing synths role-playing mother nature. The percussion softly pelts the surface like a leaf falling off a branch: slow, meandering its way around the vast to reach the inevitable. It’s a consistent characteristic of the project. It is littered with percussion instruments from snares, high hats, maracas, glockenspiel, and more fusing to provide energy.

‘Radiate’ is a vaporous highlight of the EP that veers into the late morning. Its uplifting chords support the rest of the instrumentation to sail in the environment as if they are clouds. I especially admire how 92elm tucked the saxophone behind the softness of the drums. Its brightness pokes out ever so slightly to remind you of its presence. ‘Suncatcher”s foundation is slippery keys and drums looped together with synths popping in randomly to create an illusion of movement. True to its name, its slower tempo illustrates the joy of basking in the daylight.

The subtle transition from day to night makes the project feel evasive. By the time the outro track ‘Ripples’ comes on, you wonder where did all the time go as it’s already morning. It feels a tad cinematic and natural, birds acting as background singers as they chirp alongside pristine chords and staccato of the violins. Yet, the track does something I wish was more prevalent throughout Gradients. Halfway into the record, a robotic vocal mutters a melody, but its words are difficult to discern. What is being said is not significant compared to what it supplies. Its inclusion allows the elements around it to slyly relapse to the beginning, where the birds chirp again.

Is it a sign? Informing us how quickly the days go by as the next spears on ahead. A reminder to live in the moment and enjoy what’s around you. Perhaps this is 92elm continuing his attempt to comprehend the concept of time. In a world where BPM, bar counts, and patterns govern, producers are mathematicians who are able to turn numbers into notes. There could be many meanings or none at all, but what Gradients is anything but lingering.

The post 92elm Boasts Organic Talent in Nature-Inspired ‘Gradients’ appeared first on FUXWITHIT.

‘THE FUNK’ takes on full force as the album runs into its next track (‘BUCK’ with CARRTOONS and Kyla Moscovitch), with cascading synths and rising chords. The moment of anticipation is broken by proud hip-hop drums, jubilant trumpets, and an unmatched beat that only stops for a coo of satisfaction from the alien voice. 

The opening ends, and the next track (‘CATS GROOVE,’ a collaboration with Tony Rosenberg) begins with the same repeated mantra of “don’t force the funk.”  What follows is a funk-inspired instrumental, littered with interesting percussion. The track is subdued, precise, and decisive, as listeners are led down a winding, animated path by flute and piano. The next track (‘HOME.cookin’) is also transitioned in through vocal exclamation, and, over its minute and 16 seconds, creates an even more meditative path for listeners to enjoy. 

The track fades into ‘LIL BIT,’ a standout on the album and a previously released single. A heavier piece with churning 808s and a deep vocal that repeats the phrase “just a lil’ bit not a lot.” Heavily distorted synths pepper themselves in and use the stereo field to his advantage with heavily panned instruments. 

This is also the first track to feature a full verse from Ellis, and his words are tinged with pride, in his heritage, image, and sound. “I’m a funk-soul brotha with an attitude,” he raps. “Got an afro pick with the glasses too/ Making music since the day I came up out the womb/ So write about it now let me introduce you.” Indeed, the entire album feels like a deep glimpse into Ellis’ world, as we are introduced to soundscape after soundscape that is immeasurably intricate and beautiful, pride well-founded.  

‘LIL BIT’ then blends seamlessly into ‘TRIPPIN,’ the next song off the album. Another unique piece, it begins with classical-inspired vocal chops and the delicate vocals from collaborators Max Oakley and Lulu V. The eclectic opening is soon replaced by more introspective, dream-like jazz, tinged by string samples that interplay with an electric keyboard, perhaps an homage to his days as a youth spent playing keys in the church choir. 

This time, the foreman-shifted vocals at the end of this piece tell the listener to ‘SWING IT!’, and then give way to the next track of the same name, a collaboration with Sw8vy. The song is in fact, swung, and is once again peppered with the unique percussion Ellis is so renowned for. Ellis oscillates between calming jazz, soulful hip-hop, and electronic idiosyncrasies that create an almost meditative state for the listener, a state that is furthered by the next few tracks, ‘THE CALM’, ‘SLUMDOG’, and ‘DONT BE LATE’. 

The state is interrupted with the following ‘GET RIGHT!’, a tight and spirited RnB track with impeccable, inventive percussion, and impressive vocals from collaborator C.S. Armstrong. The track is over in a minute and 42 seconds this time, followed by ‘BUSSIN’ and ‘SLANKY,’ more bite-sized morsels of a delectable world Ellis has created. 

The album ends on the song ‘ACT ONE’, which is reminiscent of 90s hip hop with shuffle drums and a detuned piano, and a lead mallet instrument. The end of the song, by choice, doesn’t resolve the tension, as exemplified by the last melody, as if suggesting music to come. Its title (‘ACT ONE’) serves its purpose and will leave listeners on the edges of their seats, for a future act two.

In all senses, THE FUNK WILL PREVAIL is a self-referential and thematic piece of Ellis’ storied career, and a glimpse into the mind of an eclectic, self-motivated artist with few boundaries and many talents. With no song on the album being more than 2 minutes, each piece offers brief glimpses into a vibrant, funk-tinged world Ellis has cultivated for listeners, that feels every bit as careful as it is celebratory. 

Listen to THE FUNK WILL PREVAIL now and find it on your preferred streaming service here.

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In true esentrik fashion, the producer gives the melancholic tune a funky flip that makes you nostalgic for summer days and Soundcloud’s golden era (that actually never really went away). The beatmaker adds organic elements by starting with strings that lead into the bootleg’s new bouncy bassline. Taking the songstress’ vocals up a few octaves to match the beat’s high energy, esentrik infuses a seductive punch that gives ‘I Hate U’ pure danceability. SZA may be pouring her soul out about heartbreak in the song, but it doesn’t mean you can’t have a great time grooving to it.

Listen to it now and support esentrik by copping it on Bandcamp.

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Despite the genre being so sample-heavy, what sets Elaquent apart is his confidence in sound design. While listening to his tunes, it wouldn’t be out of the ordinary for you to think the vintage feel could be attributed to a vinyl. However, he tells Bandcamp, “If I consider myself an artist, I should at least have the courage to try to [compose my own beats]. And so when I make a beat that has no samples, but people think that I used a sample? That’s kind of the ultimate compliment.”  In a class on his own, we’re gratified Elaquent accepted our invitation for our latest guest mix. Learn more about the beat scene legend and listen to his special FUXWITHIT mix below.

Hey, Elaquent! Thank you so much for doing this with us. How are you?

I’m hanging in there! Trying to keep busy and scheme for next year. It’s been a good year, all things considered. Always a pleasure to talk with ya, thanks for having me.

We’ve been wanting to get you on a mix for a while and we’re so glad it’s finally happening! What can we expect to hear?

Pretty much a collection of stuff that I listen to lately. Everything from introspective raps, to drug raps, to mellow beats, to heavy shit, old stuff I grew up, newer stuff. A lot of different stuff from various hip-hop spectrums. And maybe a song or two I’m involved in.

Is there anyone you recommend that we should invite to host a guest mix?

Lots of folks I could recommend…my bro Paul Chin is probably a little more plugged in on electronic music and definitely a much better DJ than me. Otherwise, K Le Maestro, chromonicci., The Kount all get my votes.

On the first, you tweeted your biggest flex of the year was getting help. What does that look like for you?

That means seeing a therapist, talking to people, actually taking practical steps to get better. I know there has been somewhat of a newfound focus on mental health and self-care/love, and I know it’s mostly the ladies who have been at the forefront of that movement, but with that super wack, macho, toxic “internalize everything” mindset myself and a lot of black men have it felt a little liberating to say ‘fuck it’ and take the step to talk to a professional and be more open about some of the things that have made me ill.

Every time you release new songs, you pin a photo of Kaelin Ellis to the track on Spotify. Can you give us a little background on that?

LMAO, to be honest, there isn’t some crazy story about that. He posted one of his beatmaking videos and if you screenshot at the perfect moment, you can catch anybody looking kinda goofy in the frame. I’m in a group chat with him and normally that type of stuff just gets posted in there for laughs, but I thought it was funny to throw it on my Spotify page. My mans just kept leaving screenshottable imagery so I kept doing it lol but he’s been a good sport about it.

As a producer, part of my job is to discover somebody or tap into a different side of an artist.

Speaking of releases, you just dropped an EP with Killah Trakz and you’re someone who constantly works with different artists on projects. What are your dealmakers for collaborative partners?

Trakz been one of my homies for literally like 15 years. Some of the joints he’s put out are jams we did literally 9, 10 years back. Shouts out to him. To be honest, I’m very picky with who I work with. I’m a big fan of a lot of different artists, but only a handful of them I feel that chemistry with. As a producer, part of my job is to discover somebody or tap into a different side of an artist. While I have a small circle of artists I collaborate with often, I never want to work with the same artists on every single project as everybody else, it’s more fun to find someone new to introduce to my audience.

You’re someone who toes the line between hip-hop and electronic music, gaining massive respect from both communities. What would you describe your position in the music industry? Why do you think people in electronic music gravitated towards you so heavily?

Honestly, I don’t know. I’ve always considered myself a hip hop guy first and foremost, but there are definitely parallels between hip-hop and electronic/EDM/house/whatever else. At the end of the day, we’re all beatmakers and producers using mostly the same equipment or software and putting sounds together. When I first started visiting LA in like 08, started to see artists who had more of an electronic influence on their music and I thought that shit was so fire. Not to mention, a lot of my homies who are big in EDM/electronic scenes now started off doing boom-bap hip hop, or vice versa, so sometimes it’s a natural evolution. Cool sounds are cool sounds regardless!

At the end of the day, we’re all beatmakers and producers using mostly the same equipment or software and putting sounds together… Cool sounds are cool sounds regardless!

Earlier this year you released Komfort Food and the visual marketing for that project was centered around donuts and coffee. If you could pick your “komfort” meals for breakfast, lunch, and dinner what would it be?

Despite us including coffee beans in the special edition of that project, I’m actually not a coffee drinker lol so I’d probably leave that out. Dinner definitely Jollof rice, but that shit is comfort for me and my family. To be honest, I’m more of a brunch guy rather than breakfast and lunch guy, so I’d probably do an egg omelette with fruit or something.

What are 5 words or phrases that you’ve muted that’s made Twitter a more peaceful place?

Kanye
Jada Pinkett
Maga
6ix9ine
Nicki Minaj

Some of those things don’t even offend me per se, just tired of seeing that damn discourse on my feed.

Is there anything I haven’t asked about that you want to talk about? Anything you want to plug in?

Yes, Follow @ariellenyc on Twitter. Very important I get that crucial information out there into the world :)

Tracklist

The post Guest Mix + Interview – Elaquent appeared first on FUXWITHIT.

With the four first tracks on 180 Deluxe having already been released, ‘Gasp’ is the first new track we’re hearing from the series. It’s 2 minutes and 53 seconds of unadulterated, hard-hitting hip-hop that showcases Lunice’s ability to go for the jugular utilizing precise and productive beats. His sound selection is truly what sets him apart, bringing claps and growls to the next level through a dark yet danceable rhythm.

180 Deluxe will be released via LuckyMe on October 8 of this year, but the digital album and limited-edition vinyl is available for pre-order now on Bandcamp. Check it out here and listen to ‘Gasp’ below!

The post Lunice Unleashes New Single That’ll Make You ‘Gasp’ appeared first on FUXWITHIT.

Another short EP of late night jams I made, much in line with the first. A continuation or second chapter in an audio diary of sorts. Helping me get through a number of highs and mostly lows I’ve experienced over the last few months of 2020. But I don’t think anybody really cares about that, as thats more for me. But here are some relaxation vibes to kick it to. As per usual, play this at night. Thank you in advance for the support. cheers <3

Elaquent, BANDCAMP

The producer is known to bring hip-hop beats to the next level through his ‘komforting’ sound and exquisite sample selection. Bedtime Stories II stays exactly on track. As Sona Elango (Elaquent) records his sonic journal of soothing melodies, he in turn brings warmth to everyone who listens. Succeeding the first Bedtime Stories from 2020, Elaquent delivers buttery-smooth beats on this EP. The project begins with a magnetic soulful tune and ends with a motivating speech, excerpted from a Marshawn Lynch interview.

One thing to note about Elaquent is that the peacefulness he brings isn’t only through his music, but he continues to show support to everyone around him. You can find him on social media, uplifting everyone he crosses paths with, no matter how far back they go. Personally, I’m super blessed to say I’ve experienced this first-hand and am proud to showcase not only an incredible producer but also an incredible person. When asked if he had anything to say, he replied:

We can’t argue with that! But on a real note, listen the new Elaquent EP, Bedtime Stories II, below and get ready for the most blissful 14 minutes of your life. You can also purchase the project now on Bandcamp.

The post Elaquent EP ‘Bedtime Stories II’ Is A Dream Come True For Soul-Lovers appeared first on FUXWITHIT.

In true Kaelin Ellis fashion, the beatmaker gives his silky smooth take on songs from legendary artists like Aaliyah, Destiny’s Child, Outkast, and more. If you’re in the mood for some throwbacks with a groovy twist, RMX’s Vol. 4 is for you. Ellis’ fusion of modern and vintage melodies is astounding and we can always count on him to bring immaculate vibes.

We’re keeping a pulse on whatever the producer will do next, and we think you definitely should, too. Until then, listen to Kaellin Ellis’ RMX’s Vol. 4 here and support him by buying the EP on Bandcamp.

The post Kaelin Ellis Flips Aaliyah, Outkast, & More In ‘RMX’s Vol. 4’ appeared first on FUXWITHIT.

This release is so important, not just to me, but to the whole industry. It really sets precedence for everyone in the community to actually practice what you preach. And I’m proud to say Keys N Krates aren’t just loud on social media about what they believe in—they’re also using their art to make the world a better place.

Flips Vol 2 is full of funky fire. The trio produced groovy bootlegs of 3 iconic songs: Zhané’s ‘Hey Mr. DJ,’ Frank Ocean’s ‘Solo,’ and H.E.R.’s ‘As I Am.’ The last time they dropped a flip pack was in June of 2020, at the height of the Black Lives Matter protests. At that time, they also donated all of the proceeds to the NAACP Legal Defense and Education Fund. In both of the flip packs, they’ve given to a good cause and they’ve highlighted some of the greatest Black artists in our lifetime.

We’re glad to say they’re keeping the same energy this year, and we hope you do too. Although you can stream the songs below, be sure to purchase Keys N Krates’ Flips Vol 2 on Bandcamp if you have the means to do so.

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