"Misinput Tycoon’s 8 tracks sound like personal bursts of expression by the artist sculpted through artificial at times alien sounds that still sound very human." (Sonic Sundays) 

"This is an album full of intricately engineered, futuristic sound explorations." (Zenevloed) 

On Misinput Tycoon (GEN052), https://soundcloud.com/fausto_mercier returns to Genot Centre with an album full of intricately engineered, futuristic sound explorations. Quirky, syncopated, even grimy melodies emerge between sounds reminiscent of cinematic automatic sliding doors, plasma-filled light cannons and full-spectrum boot-up sounds. The approach is bio-mimetic, elastic, fizzy, accelerating and decelerating, like listening to a process of wringing out an artificial fabric, or rupturing ultra-light fibrous materials in incredible resolution. More than ever, this album is littered with colorful, even contemplative segments: having an orchestrated, playful feeling. But make no mistake: more than mere intermezzos, this only a further dimension of the album's depth, the bright timbres ready to interface with a stroboscopic, liquid, granular counterpoint at any time.

// Roland Nagy (https://soundcloud.com/fausto_mercier) about GEN052
“I’m constantly watching pixels since I was 5. This album reflects wasted time and digital traumas. MISINPUT TYCOON is a sequel of my FULLSCREEN album from 2019 (also on Genot) - a sonic playground that feels much safer to me compared to my previous works. Also, it's the first album I made without hearing „What would XY think about this track?” in my head. These are my hymns for healing from the digital core - hope it will help.”

// BIO
Roland Nagy (he/him) is a Hungarian sound engineer, ex-media arts student and producer. Ever since 2016 he has released music under https://soundcloud.com/fausto_mercier moniker on labels like on EXILES, Kaer‘Uiks, Pointless Geometry, Infinite Machine or Genot Centre. His work in the field of electronic music production, while resonating with hardcore digital culture and bouncy rhythmic heaviness, is closely connected to his fascination for natural soundscapes and their fractal nature. In particular, Nagy skillfully manages to depict a violent, tense world populated of minuscule yet grand sound variations, intertwined in a web of apparently chaotic textures. He was part of Shape Platform roster in 2020.

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Fausto Mercier - cinege

LYRICS
______________

I'd die in your arms
Se delicada


Arcángel

@user-34626049
instagram.com/celest3.exe
tiktok.com/@celeste.noxx

Celeste Noxx is a singer-songwriter and producer who started producing her own music on GarageBand in her bedroom back in 2020 after being inspired by fellow DIY artist, Grimes. Apart from Grimes, Noxx’s influences include Aphex Twin, Mira Calix, Boards of Canada and Arca. Noxx’s music has been described by fellow musicians from various music forums as experimental, eerie, dreamy and cinematic. 


Anhedonia is an experimental ambient project that is inspired by found footage horror such as “The Blair Witch Project”. Anhedonia explores the mind of a girl who isolates herself, through the lens of a mysterious videotape found in the woods. The project will be released on the 19th of April 2024.

Cover: instagram.com/bloodythinkpad

Anhedonia

Celeste Noxx

Celeste Noxx - Deer In The Headlights

gőzmix vol.1

kis kavicsok

Recollection Wave

Falling into Radiance

Pulse of the Seraphim

Musical composition for Eszter Metzing's exhibition 

'The skin sees when the eyes touch'

„Eszter Metzing's second solo exhibition at INDA Gallery transforms the relationship between touch and sight into immediate experience. The artist turns the gallery’s three connected rooms into a fabula where the exhibited works relieve their recipients from the overload of a vision-centric reality. And by doing so, the pieces let the visitors enter their own tissue through their unconscious, wondering perception of the peripheral spectacle. The acts of seeing and becoming visible, touching and becoming touchable spread across the spatial system like threads. Led by a desire to discover through touching, the viewer eliminates the distance between them and the works. By experiencing the works, the spectators open up to themselves as touchable skin in a tactile proliferation of vulnerability, of cell membranes, of pre- and nonverbal emotions.
In the exhibition a new kind of symbiosis emerges: raw canvas, with the body dissolving in painting and graphic motifs, and biomorphic borosilicate glass embedded in latex come to pulsate in a women's rite like a primordial principle. The works and the image revealing themselves in them become the umbilical cord that leads the self back to the natural connection with its boundary, to the origo rooted beneath the skin, preserving memories. And this is where the perception of the world’s flesh tissue comes back once again to an interconnection with a renewed perception of the flesh of the self.
In the final space we arrive in a cave, embraced by the colour of soft warm flesh, through which we become receptive, while the grips of the mind are overcome by the composition of the voice of composer Rozi Mákó. This is a place where illusion falls before our eyes, where the distance between man and matter is no longer there, where we are drawn to the darkness, which is not frightening but nourishing and helps us to create without illusions, where fixed, rigid structures dissolve, where we ourselves become transparent and permeable.”
/Annamária Szabó, one of the curators of the exhibition / 
More about the projekt: www.instagram.com/esztermetzing/

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