You're In Love

I recorded a new mix showcasing all the new music from the EP I made with Geode and other forthcoming music and releases I have been enjoying :)


Tracklist:

01. @geodedub - Lapwing [@chord-marauders]
02. @geodedub & FLO - Vega [@chord-marauders]
03. @thekercha - Strange Story [Bandcamp]
04. @spectredubspectre - Elements [@fotosounds]
05. @geodedub - Belgrade [@chord-marauders]
06. FLO - Control Dub [Patreon]
07. FLO - Original Dub [Patreon]
08. FLO, @ozdubs, @q100-beat - Plasmatic  [unreleased]
09. @Gisaza - Oi (VIP)  [unreleased]
10. FLO, @ozdubs, @q100-beats - Peeker's Advantage [@infernal_sounds]
11. FLO - Jazz Standards  [unreleased]
12. FLO - Absolute Zero  [unreleased]
13. FLO - U Kno  [unreleased]
14. @geodedub - Bronco  [@chord-marauders]
15. @miatemplemusic - Trust (@Oddkut Remix) [@sudosoundbristol]
16. @geodedub & FLO - Boston Social  [@chord-marauders]
17. @q100-beats & @pvcketloss - Invisible Man  [unreleased]
18. @Amoss - Ricky Martin [@flexoutaudio]
19. FLO, @ozdubs, @q100-beats - Somnolent [unreleased]
20. FLO - Dissonance Theory [unreleased]
21. FLO - Blueprints Dub [Patreon]
22. FLO & @Rakjayuk - No Assumptions [unreleased]
23. FLO - Brainstorm  [@chord-marauders]

Vega EP

FLO x Chord Marauders - VEGA Promo Mix

→ Stay connected with us: https://soulection.world
→ Discover: @joekay
→ Show #642 Track List: soulection.com/tracklists/642

— The SoundCloud uploads are Explicit
— The Clean Version is up on Apple Music 1
** Soulection Radio Shows on Apple Music 1 are archived here on SoundCloud 5 days after they air live on Sunday **

**** Full track Lists are now available soulection.com/radio ****
→ If you are interested in hearing all of our recent shows go here: soundcloud.com/soulection/sets/soulection-radio-sessions
→ Stay tuned to our site for more info on tour dates, releases, and much more via soulection.com

23 JUNE 2024

Show #642 | Up-tempo Grooves, Souldies, & Reggae

"Damaged Goods" is a collection of 20 beats made by Low Key. This beat tape was made, mixed, and mastered with-in 2 months and took hundreds hours perfecting.

During the making "Damage Goods", there were times where the motivation just wasn't present and I basically had to force myself to create. This led to me mentally & physically feeling drained mid way through the tapes making which tempted me to name the project "Damaged Goods".

While some beats have similar flows each beat is different in it own way. Some tracks were bounced between my SP-404sx, KX-200U cassette deck, and Ableton Live 12. This is something you'll be able to hear through out the project as some beats sound crisp & clean, while others sound like they came straight out the cassette tape!

Damaged Goods

Lookin Sidewayz

For October’s edition of Carhartt WIP Radio, we’re welcoming London producer and songwriter Nathan Jenkins, also known as Bullion (@bullionness). 

Bullion made his debut in 2007 with the release of “Pet Sounds: In the Key of Dee,” a mashup project that remixed the music of J Dilla with The Beach Boys. Evolving this sample-led approach, he released the project “You Drive Me to Plastic” in 2011, composed of samples taken from YouTube clips, old vinyls, and incidental recordings.

A string of releases followed across labels including Honest Jon’s, R&S, and Young, before Bullion launched his own imprint DEEK Recordings in 2012, with the release of his 80s-pop-tinged EP “Love Me Oh Please Love Me.”

Alongside his prolific solo projects, Bullion often works with other artists, with credits ranging from Nilüfer Yanya and Sampha to Avalon Emerson and Ben Howard. Bullion’s latest album, “Affection,” highlights this collaborative aspect, featuring contributions from Carly Rae Jepsen, Panda Bear, and Charlotte Adigéry.

For this Carhartt WIP Radio episode, Bullion has created a mix featuring a vibrant blend of his solo work, as well as production for other musicians, and select remixes. 

Alongside the mix is an interview where Bullion discusses the influence of an early Pet Shop Boys album, the art of collaborating with other musicians, and his thoughts on technology’s effect on music. Read the talk via www.carhartt-wip.com/journal/music

tracklist:
1. Bullion - Heartrunner
2. Bullion - Affection
3. Thomas Leer - Tight As A Drum (Bullion remix)
4. Bullion - Cinema Down
5. Avalon Emerson - Dreamliner
6. Bullion - Yawn
7. Bullion - We Had A Good Time
8. Ben Howard - Days of Lantana
9. Bullion - World_train ft Charlotte Adigéry
10. Carly Rae Jepsen - Bends
11. Bullion - Rare ft Carly Rae Jepsen
12. Nilüfer Yanya - anotherlife
13. Orlando Weeks - Look Who’s Talking
14. Quinn Christopherson - 2005
15. PYTKO - Silent (Bullion remix)
16. Westerman - Blue Comanche
17. Bullion - Your Father

https://www.carhartt-wip.com/en/journal/music/radio/2024/10/artist-feature-bullion

Carhartt WIP Radio October 2024: Bullion

Broken Superficiality (2024) for Ensemble and Fixed Media

Taking influence/inspiration from the 50-year continuation and negative effects of Neo-Liberalism that was first trialled in Chile in 1973, and then widely adopted by the UK and US under Margaret Thatcher and Ronald Reagan (and the subsequent leaders), with a lot of other countries following suit. Moving increasingly towards a privatised, individualistic, and ultra-consumerist world with a lack of state-funded/public protected services/amenities, I find that gradually as a society we are losing ourselves, becoming broken and detached from community and instead are pursuing more superficial endeavours and objectives. Taking this into account, I have opted to use effects and timbres that were widely used in the 1970s and 80s as the core of the piece, pairing it with live instruments that sound ‘glitzy’ and techniques to that deviate/distort the instruments' pitch and timbre.

Performed by Ensemble Klang 
Performed at Cloud 9 in Tivoli Vredenburg, Utrecht as part of Gaudeamus Festival 2024
Recorded by Gaudeamus Festival
Mixed by Peter Bell

Image - 'Metropolis' by George Grosz (1917)


Broken Superficiality (2024)

moug 
for bass clarinet, cello and piano

written for and premiered by Trio Catch
commissioned by Gaudeamus Award 2024

live recording on Sept. 6. 2024, at the Gaudeamus Festival

.

programm notes:

The title is derived from the ancient Chinese pronunciation for "dream" ("mong“), with one of the letters reversed. The structure of the work mirrors the nature of a dream, built on a series of oppositions. Each fragment of the dream is shaped by the briefest possible motif, similar to Lévi-Strauss's approach to analyzing myths. The labyrinths, conflicts, and fantastical moments in which the dreamer is immersed twist and turn through waves of subconscious and conscious sensations.

.

Photo © Rogier Boogaard

moug (2024) Trio Catch

My PhD thesis composition, Agnostic Ambiguities, is a personal reflection, a search; a search for profundity, for meaning, for spirit. Written for seven musicians of the Talea Ensemble, it is a journey of my own unresolved in-betweenness. Why agnostic? Because I dwell in uncertainty— not just in my beliefs, but in the very nature of my artistic and spiritual existence.
It took me years to finally accept this in-betweenness. I was born in Istanbul. This city drifts between worlds where Western European ideals and Middle Eastern Islamic traditions intertwine and collide. I studied at a conservatory that adhered strictly to Western classical training, yet as soon as I stepped outside, the ezan—the call to prayer—would fill the air, a haunting and beautiful reminder of another spiritual reality. These moments shaped me, creating a quiet dissonance within, a question that never demanded an answer but always lingered. I have always felt torn between full commitment and non-commitment, between structure and freedom, and between devotion and doubt. For me, a profound artistic experience leaves me with unanswered questions—questions that can only be raised by art and philosophy, questions of mankind’s angst, ambiguity, and uncertainty. Do they have to be answered? I do not believe so.
This composition, approximately 13 minutes in length, embodies these contradictions. It navigates the tonal tensions between equal-tempered (12 TET), non-equal-tempered maqam, and microtonal scales, mirroring my own inner dialogue. It is harmonically driven, with accelerandos and shifting tempos that resist stability. At its heart is a keyboard with pre- programmed sound banks that initiate the microtonal pitches/scales and electronic instruments. These microtonal textures ripple through the ensemble, creating friction between maqam scales, microtonal triads with extended chords, and the rigid framework of 12 TET.
My fascination with these tonal clashes is not just an aesthetic choice—it is personal. It is a way of reconciling the sacred and the secular, the structured and the fluid, the physical and the ineffable. It is an attempt to harmonize the echoes of my upbringing with the evolving language of my music. In this piece, I am not merely composing; I am searching. Searching for a voice that can hold all my contradictions, for a space where ambiguity is not a weakness but a form of truth.
Perhaps, in the end, there are no answers—only the resonance of the question itself! Ali Can Puskulcu
February 8, 2025

Agnostic Ambiguities | Talea Ensemble

"Ice Breath" for amplified contrabass recorder, performed and mixed by Juho Myllylä (written in 2022,performed and modified in 2024)

download

sweet

https://djharrison.bandcamp.com/
i made a jazz trio with just me.

Too On The Scene

Cem Güven (b. 22.11.1997) is a composer of acoustic and electronic music, from Türkiye/Istanbul (The Juilliard School/Bachelor’s Degree, Royal Academy of Music/ Master’s Degree), who is currently pursuing his doctoral degree (DMA) with a fellowship at Columbia Graduate School of Arts and Sciences in New York. Cem is nominated for the Gaudeamus Award 2024 and he is also one of the finalists in MA/IN Award 2024. He is the recipient of awards in various composition competitions and organizations worldwide, such as the Petrichor International Music Competition Grand Prize, Royal Academy of Music Composition Postgraduate Prize, Leverhulme Trust Arts Scholarship, Alblaze Records Award, Academia Musica Vienna (2nd Prize) Franz Schubert Conservatorium in Wien (2nd Prize) and KLK New Music competitions such as “Musica Per Archi” (2nd prize) and “Orient-Occident” (3rd Prize). Güven’s music is performed by well-known ensembles such as Ensemble Musikfabrik, Royal Scottish National Orchestra, Ensemble Intercontemporain, Attacca Quartet, Riot Ensemble, Wet Ink, Coma Ensemble, Tbilisi State Opera Chamber Orchestra, KLK New Music Orchestra, Sydney Contemporary Orchestra, Loadbang Ensemble and New European Ensemble.