Taken from Tzusan (@aboynamedtzusan) EP Fizzy Milk, out via SKOOP (@skoopskoop)

Read: http://bit.ly/30GqNr2
Order: http://bit.ly/3vnKlOM

Written, Produced, Performed, Recorded & Mixed by Tzusan

Design & Photography by Danny Crofts

Mastered by Jed Dugdale

Released by SKOOP

Premiere: Tzusan - Fly Like A Bulldozer [SKOOP]

Mix for Instant Yum! with @k_means on @noodsradio (20th March, 2021). Artwork by @shbadr.

https://noodsradio.com/residents/instant-yum-w-k-means | https://instagram.com/trish__ak 

Tracklist:
Nexcyia - Us
I Feel Everything
Ziúr - Antifate
HIDE - Do Not Bow Down
Scotch Rolex - Success (ft. Lord Spikeheart)
Lil Asaf - Malakii 
Okay Vivian - Taşın Kanayan Kalbi 
Ytem - Masse
7777 の天使 - 7777, For The Angels
Ł. Salicis - Wrapped in Satin Armor
AD NAUSEAM - Inexorably Ousted Sente
YOTO - El Hijo De La Jarra Loca
Enayet - Bhir (Cassius Select Enemy Mix)
Moor Mother & billy woods - Maroons feat. Imani Robinson & Amirtha Kidambi 
Mutamassik - Grinta
李帶菓 - 為什麽什麽都做的好，但是什麽都沒做好
Maarja Nuut & Sun Araw - Stasis Particle
Will Guthrie - Side B
FRKTL - 72-48-0 Red
Rian Treanor - Obstacle 4 
Perc - Fire In Negative  
Neo Geodesia - Fanta Rouge  
Vlad Dobrovolski - Impetus feat. Kurvenschreiber 
Ignis Gehenna - Threshold 
Mukqs - Story About Nothing 
Fetva - Castus  
Meemo Comma - Upload To Unit Kadmon 
DIGITONICA - профиль закрыт (chiaroscuro) 
HAJJ - The World Is Ending And We Aren't 2gether (Magdalena's apathy)
FRKTL - Untitled
coleman mummery - Body
Kamixlo - The Coldest Hello (Live From The Russian Spiral) 
Mutamassik - Long Beards
Sarah Haras - Born a Star

Noods Radio | Instant Yum! w/ FRKTL

Shout out to @jessikakhazrik for taking over the show

Scavenging sounds from online and on-site detritus, trans-millennial pharmacopoeia of healing and militarised ads and technologies, Jessika Khazrik’s sonic scapes intimately investigate the techno-political premises of the military economies we inhabit or forget. Often born out of vocoded collaborations with alchemical neural networks skewed with hard-edged Arabic rhythms, Khazrik festively uses spaces of congregation—such as clubs, the internet, her house, quarries, and museums—to search for new, locally entrenched universalities that could collectively respond to the dystopias of our current time. 

Having grown up in the Armenian jazz scene in Lebanon, Khazrik’s deep-seated explorations in music, technology, politics and literature was kindled at a very young age. Beginning to perform in the Beirut metal scene at the age of 14, she soon took on DJing a few years later while performing in different settings. Currently, her indisciplinary practice as artist, writer, technologist and DJ ranges from composition to machine learning, performance, visual art, ecotoxicology and history of science and music.  In 2020, she relocated from Beirut to Berlin.

This is a quaint one, mixing music I have been wanting to coalesce into one place since some time: from Zar to Cyber Trance, Rai, Zagharid, Metal, Syriac choirs, Serbian folk, Georgian polyphonic singing, Techno, Trance, ML and unclassified music

Tracklist:

Marina Omelchenko & Organs Ghazaryan - Sireci Yars Taran
Suicide Commando - Death Lies Waiting (SITD remix)
Zoo Holubowska & Julia Giertz - Community of Grieving (Part I)
Orphan Fairytale - Princesse Peignoir & Prince Pyjama
Kosmos Colas - Ecstasy (emotion)
?????? - Lobotomise
Cheb Djalal - Ana Ighrib v1
Keygen Church - Becureg axpallef furde. Cegab ufqua radurrac
?????? - أجمل زلاغيط
Haw - Destlebwo
Mazaher - rekousha
Ghedalia Tazartes - An amour si grand qu’il nie son objet 
???????? - ???????? : (
Jessika Khazrik - Only Distance Has a Name x Artificial Intelligence Is Work
Brioni Faith - Be Here Now
E-saggila - Tilt
Jessika Khazrik - Impeding Voices & Bells
Stasya - Grief (Ode to all Puella Magis)
Alkaloid - Chaos Theory and Practice
Kosmos Collabs - 1body1soul
Futuro Antico -  Ao Ao
Ka Baird - Ebuza
APaul - Melodrama (Original mix)
Dj Arne L II Mirko Milano - Astral
Cheyra - Shafted
Lastrack -  Belsunce Battle Breakdown
Jaclyn Kendall - Gowanus Canal
1NC1n - Trebso
Stranger People - Strange Attraction
Nazar - Clan(Slikback Remix)
Perc - E Mono
Jessika Khazrik - Kushajam’s Recital
Nkisi - Parched Lips
Jessika Khazrik - Trem
Radmila Dimic - Ko t pokida sa grela derdane
Kosmos Collabs - 1body1soul

Ma3azef Radio - 08 [06-03-21] | Jessika Khazrik Takeover

bit.ly/3e1WUcr

It’s 2120, it’s been 10 years since the WHO’s latest health guidelines signaled the end of music. Noises over 30 dB are no longer allowed, and global governments have imposed strict laws to ensure that these regulations are enforced. Noise detectors are now planted everywhere, and noise levels are subject to constant surveillance.
Talking is discouraged, yelling is a criminal offence, singing is now a foreign concept to younger generations. Courses designed to rid musicians and music lovers of their desire to sing or play instruments have been deemed a resounding success.

It must have been exciting for her to find this tape on a walk by the riverside, even though she had no idea what it was and how to use it. Many would have been tempted to discard it, probably rightly so, but Yolande Khouzam had been an Acoustics Researcher before the obsolescence of the entire discipline and this object seemed vaguely familiar to her.

We’re not sure if she managed to find a way to play it. If she did, it would’ve been badly mangled, the sounds at times completely indiscernible, especially towards the end of each side. We’re not sure if Arabic was one of the 4 remaining languages, if it was, she would be able to tell that these are songs from a completely different time, played with instruments that she hadn’t heard before. The music seemed to come from the same era, but as the mixtape progressed, the instrumentation, scales and sound seemed to gather a more western influence. Using whatever resources she could find, her research helped her trace most of the recordings and she dated them to the early 20th century, mostly between the 1920’s and 1940’s. She found that the change in sound, scales and instrumentation over the duration of the mixtape, with a more pronounced Western influence on the more recent songs could be attributed to a Congress of Arab Music that reportedly had been held in Cairo in 1932 under the patronage of King Fuad I. That remains only a guess for now.

While no legible writings were found on the cassette tape, she did find an archived online review of a mixtape released almost a century before her time which seemed to contain something very similar to the tape she found. The tape, titled Wujidat w as made by Egyptian musicians ABADIR and Pie Are Squared to experiment with dissecting and degrading traditional Egyptian songs by known and unknown artists. What Yolande might have assumed was a mixtape made to provoke nostalgia, was almost the exact opposite of that. What made it even more intriguing is that the mixtape she found had been intentionally made to sound broken and degraded.

Credits:
* Compiled and Processed by Pie Are Squared & ABADIR
* Mastered by Pie Are Squared
* Artwork design and Typography by Islam Shabana
* Special Thanks to Amira Elmasry
* Video by L'Aubaine

Format:
* Limited cassette edition with download card (100 only)
* Limited hand-numbered official CDr (50 only)
* Digital and streaming

© 2021 ABADIR & Pie Are Squared 
℗ 2021 Akuphone

AKU1032

Wujidat

الآنسة ملك - يا عم يا خالي Al - Anesa Malak - Ya Am Ya Khali - ABADIR & Pie Are Squared

sample - https://soundcloud.com/ethelcain-music/for-sure?si=08d254928bea461c86a6df3d4f9446c7&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

pls go show her support.

for sure

They Are Among Us

skating 0.1 wb 84 bpm take 1 101325

From the new LP, Excision After Love Collapses: frktl.bandcamp.com/album/excision-after-love-collapses

Excision After Love Collapses

FRKTL — Gestalt Approach

Taken from @holysimilaun album Ansatz, out January 29, 2021, via @ooh-sounds.

Read: http://bit.ly/3o7tXNC
Pre-order: http://bit.ly/3931yEd

Following the aphex-blessed En-To-Pan and the recent ep Hegenrax [OOH-014] Holy Similaun goes further in its intimate and personal musical discourse with Ansatz [attempt / approach] to investigate uncertainty and the mutation of our "safe spaces”.

Extremely dilated fades, intermitted structures, massively warped voices, blasting industrial distortions and gaming sound effects populate the synthetic environments of a not-necessarily dystopian post-something, multifaceted and porous.
The feel is that of a soundtrack for a present future, inspired to the narrative naivety of anime.

Holy Similaun seems to frame its attention on the matter between and around standard musical objects—rhythm, melody to name two— overturning normal hierarchies and apparently reorienting the listeners towards the scenery rather than the ‘action’. The voids, the gaps, the structural falls and the physical impact of sounds are the core of that "negative space" in constant change.

Ansatz leaves a sense of the unfinished—distant ambient mutant techno echoes in a Neo-Tokyo-3 soundscape.

Artwork by Nicolo' Cervello
https://www.instagram.com/transverseorientation/

Mastering by Rupert Clervaux

Released by OHH-sounds

Ansatz

Premiere: HOLY SIMILAUN - Fluctus [OOH-sounds]

Is language a false witness? Is promise information? Exploring the techno-politics of the voice, friendship, counter-information and war, Jessika Khazrik’s composition ‘Only Distance Has a Name .x. Artificial Intelligence Is Work’ attempts to ceremonially subvert the premise of AI as labor that extimately auto-denies itself in alchemical rationalizations. This composition was premiered live in 9-channels at the Haus der Kulturen der Welt in 2018 as part of ‘The Exhaustion Project’ curated by Abhijan Toto.  

Recently, the voice has been presented as an agnotologically ubiquitous yet impossible biometric, that could exponentially be replicated through resources as easily accessible as seconds of recorded speech. If singularity is denied to the voice as matter, then what is the promised multiplicity abundant under artificial intelligence as a recognitive accumulation that feigns what is being said yet learns and teaches, most often us secretly? This AI-aided performative composition is conceived, laboured up and trained out of these questions.

Through the statement “Artificial Intelligence Is Work”, the second act grapples with AI as a division, distribution and re-arrangement of labor with a cryptographic and alchemical core. Rather than abolishing work as advanced in the endless dream of automation, the increasing spread of AI creates new forms of work and learning i.e., a re-distribution of labor, alienations and a re-organization of knowledge.

If we look at the ethics purported by some strands of machine learning that build its datasets from data shared by users online, collated and re-used in hidden network architectures and inferences without their explicit knowledge or from images collated by surveillance cameras of pedestrians and passers by that happen to be crossing a monitored environment, we see that so far with Artificial Intelligence – and specifically within machine learning, the tautological statement that ‘everything computable becomes work (whether you know it or not)’ holds a greater truth value than ‘work will become obsolescent’. Can an incomputable cryptography exist?
/
Jessika Khazrik (b. 1991 Beirut, based between Beirut and Berlin) is an artist, technologist, electronic music producer and writer whose indisciplinary practice ranges from composition to ecotoxicology, machine learning, cryptography, performance, visual art and history of science and music. Khazrik holds BAs in Linguistics and in Theatre from the Lebanese University and a MS in Art, Culture and Technology from MIT where she was awarded the Ada Lovelace prize. In 2012-13, she was a fellow at Home Workspace Program in Ashkal Alwan, in 2018-19, a fellow at the Digital Earth and in 2020, guest faculty at HfK Bremen. While concurrently working as technologist and researcher in different collective and institutional settings, her work has been presented at The Normandy Landfill, the Stanford Research Institute, CTM Festival, the Arab Image Foundation, Kunsthalle Wien, Les Urbaines, the Museum of Modern Art Warsaw, Times Museum Guangzhou, LUMA Foundation, Haus der Kulturen der Welt, Amnesty International, Center of Documentary Arts and Research at UC Santa Cruz, her house, the internet, secrets and Theater der Welt, among others.

Jessika Khazrik - Only Distance Has a Name .x. Artificial Intelligence Is Work

Poborsk — Plus Minus (krx037)
—> Out Now on Kaer'Uiks (@kaer-uiks)
https://kaer-uiks.bandcamp.com/album/plus-minus

@poborsk

Plus Minus

Poborsk - Cello Yack (ABADIR Remix)

Spaces of Faux Intimacies is the first part of a series of interventions unfolding over a year, exploring intimacy in the wake of socially distanced capitalism, digital technologies and the pandemic. 

Today’s neoliberal, hyper-connected society, has capitalised the very notion of intimacy. Screened semblances of emotional abundance are promised to us within only a few swipes away while corporate conglomerates are profiting from our desire for physical and emotional connections. As the pandemic and the accompanying social distancing measures are driving us even further apart, and amid the already existing turbulence around the world, how can we work together to produce new channels of care, social resilience, and affective solidarity? 

"Spaces of faux intimacies" brings together artists of various disciplines to contribute to the discussion with individually commissioned auditory works.

Curated by Katerina Gnafaki for Centrum

The exhibition is part of the Vorspiel program of the CTM and transmediale festival 2021 and made possible with the generous support of Musikfonds, by means of the Federal Government Commissioner for Culture and the Media.