Name: sup (i love you) by Noyus
Duration: 2 min 44 s
Description: AI girl is desperate for love, feeling empty without her man around, gets heartbroken, and under all this is very suicidal.

Listen to the album https://pixelord.bandcamp.com/album/99
Pixelord's insane new album "99%" is a mixture of exciting new music that is difficult to frame by genre, which meets nostalgia for classic idm, breakbeat and trance music. The album brings the tension of the artist's earlier releases to a glorious conclusion and almost to perfection — literally 1% missing.

VINYL

GENE

zoom0008

As a response to the war in Ukraine, Janushoved is releasing a relief compilation in order to raise funds for the people of Ukraine.

All proceeds will go directly to support the work of Red Cross inside Ukraine, helping children and their families with relief, food and medical care.

Janushoved no. 146

Johan Carøe - Sollbruchstelle

Finally dropping this... I've been making this for almost 2 years... lots of mixing (even though the mix is still pretty shitty lol), and thinking... I just realized that if i don't release this asap, i can't continue making new stuff. there are 4 more songs that i will release as an ep including beauty and sup... so yeah... FINALLY letting this go

I've been using cyber diva vocaloid in all of my 5 songs.

lyrics:

Pretty 
That’s what I am
Not happy but pretty
That’s why I’m alive

Tell me
Am I beautiful to you
I work hard
Baby, I’d feel better…

Love is fake
But beauty isn’t
I know it is the truth

Beauty
I know you can
Create it quickly

Oh, just like I did

Love is fake
But beauty isn’t
I know it is the truth

I did my best to be loved and
All I got was pretty words
And a heartbreak

Beauty - naptalim x noyus

AI girl is desperate for love, feeling empty without her man around, gets heartbroken, and under all this is very suicidal.

girlfriend

sup (i love you)

Moa Pillar (@moarock) returns with his second LP, ‘Hymns’, on Karelian label Full of Nothing. To be released on July 26th, ‘Hymns’ follows the epic album ‘Humanity’ (2015).

Offering up five tracks of transcendental heavy bass and beats, Moa Pillar aka Fedor Pereverzev, slams the worlds of authentic folk, tribal music, forward thinking electronica and dark techno together, unapologetically creating illuminating effects on his latest LP. Refusing to follow convention, Pereverzev produces his own, soul elevating sound art with his eclectic textures and sounds.

Each track on ‘Hymns’ challenges the traditional meaning of its namesake. Even the meditative ‘And the Moon Stopped’ has an undercurrent of darkness offering, itself listening like a sacrifice to the higher energies. Developing a niche sound the producer explains; “my music is all about energy, no physics, it’s about the spirit”.

Pereverzev first rose to prominence during his late teens after setting new age trends in the Russian beats scene circa 2009. Two years after the excellent ‘Hunting' EP, Moa Pillar began to experiment with harder sounds and different forms, leading him to the sounds he creates today. Outside of Moa Pillar, Pereverzev is one of Russia’s leading sound designers and co-founder of audio-production studio, Monoleak – they have recorded music for the likes of NASA and Mercedes. He has also enjoyed great success with film Bonfires and Stars premiered at Visions du Reel Festival, which follows him to the Caucasus where he collaborated with local folk musicians.

Hymns

Bandcamp

And the Moon Stopped

Mix by http://soundcloud.com/djmurlo for DIS Magazine. 
Tracklist and video by Takeshi Murata at:

http://dismagazine.com/disco/mixes/37491/murlo-takeshi-murata-street-trash/

Murlo - Street Trash

Jenna Sutela - nimiia vibié
Format: LP / Digital
Cat.No: PAN 104
Release Date: 09 August 2019
Purchase: bit.ly/2MPpaSa / https://bit.ly/2KpeKHi

Aspiring to connect with a world beyond our consciousness and our planet, nimiia vibié sounds the interactions between a neural network, audio recordings of early Martian language, and microscopic footage of extremophilic space bacteria. Here, the computer is a medium, channeling messages from entities that usually cannot speak. However, it is also an alien of our creation.

Drawing on nimiia cétiï, Jenna Sutela's project on machine learning and interspecies communication, the record manifests a more-than-human language. This language is based on the computer's interpretation of a Martian tongue from the late 1800s, originally channeled by the French medium Hélène Smith and now voiced by Sutela, as well as the movement of Bacillus subtilis, an extreme loving bacterium that, according to recent spaceflight experimentation, can survive on Mars. The bacterium is also present in nattō, or fermented soybeans, a probiotic food considered as a secret to long life. Beyond Bacterial-Martian culture, or Martian gut bacteria, the project attempts to express the nonhuman condition of computers that work as our interlocutors and infrastructure. 

Jenna Sutela works with words, sounds, and other living materials. Her audiovisual pieces, sculptures, and performances seek to identify and react to precarious social and material moments, often in relation to technology. Sutela's work has been presented at museums and art contexts internationally, including Guggenheim Bilbao, Museum of Contemporary Art Tokyo, and Serpentine Galleries. She is a Visiting Artist at The MIT Center for Art, Science & Technology (CAST) in 2019-20. 

The project originates in n-dimensions, Google Arts & Culture's artist-in-residence program at Somerset House Studios. Machine learning in collaboration with Memo Akten and Damien Henry. Miako Klein in the contrabass recorder and Shin-Joo Morgantini in the flute, with sound production by Ville Haimala. The album is mastered by Rashad Becker at d+m, Berlin.

nimiia vibié 

Jenna Sutela - nimiia vibié I (PAN 104)

Anne Imhof - Faust
Format: 2xLP / CD / Digital
Cat.No: PAN 98
Release Date: 13 September 2019
Purchase: bit.ly/2NCegzC / bit.ly/2zo1bRY

Deriving from the acclaimed performance and exhibition—staged by Anne Imhof at the 57th International Art Exhibition of La Biennale di Venezia and awarded the Golden Lion for Best National Participation— the album Faust is part documentation and part elaboration, the sonic capture and extrapolation of the gestures, intensities, and durations of the live event.
Serving as the dramatic backbone of a several-hour long performance seen by thousands over the course of the Biennial, the soundtrack was a product of the collective and its individuals, animating and organising the performers while immersing the audience in the potent images of power and paradise. The music for Faust was written in a band-like process by Imhof and her close collaborators Billy Bultheel, Eliza Douglas, and Franziska Aigner during the months leading up to its premiere at the opening of the German Pavilion in Venice. From the chaos of the performative, the album is constructed out of live recordings and original arrangements, teasing out the most potent strands and weaving them into a new composition of brutal feeling and baroque intricacy, each track a testament to the energy that brought it into being.

Faust is anchored around three pieces—Medusa’s Song, O.W.E.N., and Queen Song—written and sung by performers Eliza Douglas and Franziska Aigner, whose sonorous and elegiac voices imbue the work as a whole with their crushing depths and dolorous moods. Between these urgent vocal interventions march and twist the winding fugues and electronic abstractions of Billy Bultheel, who has dismantled and reassembled the sonic landscapes of the pavilion, crafting new arrangements that couple the forcefulness of the physical encounter with the artifice of the studio. Throughout the album and culminating in its closing act—the brutal chorus of Douglas’ Faust’s Last Song, a pulsing canon of looped and layered voice pierced by black metal screams—the record admits the listener into the inner space of Imhof’s dramatic vision of power, complicity, and vulnerability.

Shifting hypnotically between times and spaces, between cries and calls, between polyphonic antiquity and polyrhythmic complexity, Faust is the record of a lost event and the promise of a new creation. The release of Faust illustrates the centrality of music to Imhof’s artistic practice. Her musical collaborations with Bultheel began in 2013, and this generative constellation expanded to include the contributions of Douglas and Aigner, together scoring Imhof’s Angst (2016) and recently her performance trilogy Sex (2019).

The album comes with an expansive booklet of photography by Nadine Fraczkowski, another long-standing collaborator of Imhof and a prolific photographer, whose images of the performance and portraits of its cast offer intimate views of the work far beyond documentation.

It was mixed by Nanni Johansson at Hansa Studios and Ville Haimala, mastered by Rashad Becker at Dubplates & Mastering, and designed by Zak Group featuring artwork conceived by Imhof together with Douglas and Fraczkowski. Co-published with German Pavilion 2017 and Galerie Buchholz, Berlin / Cologne / New York.

http://p-a-n.org

Faust 

Billy Bultheel - Of Love (Hraah) (PAN 98)

Dumbosmurfs

Why Be - Caged Animal [YGK013]
https://youtu.be/S0O-eWZA6t0

1. Impiety with Patrick Belaga
2. Smf Teaser
3. Impossible Drops1
4. Impossible Drops2
5. Parental Glide
6. Dragged with Elias Rønnenfelt

Format: Digital/EP
Release Date: 7 Dec, 2020
Mixed by Gil Schneider
Cover by Stewart Uoo
Mastered by Alexis Chan

Special thanks to:
Nadine Fraczkowski, Elias Bender Rønnenfelt, Simon Van Deurs Formann, Sabaku no tako, Jackie Poloni

sup (i love you)

Noyus

Related tracks