#no piece of improvised media has ever matched its quality

[bargarean]

i don’t think i’ll ever move on from how mtz and red dwarf are just. the same shows. they’re about a little group of people in space who are so bad at their jobs and/or do not do their jobs. they’re all always fighting but love each other more than anything. the protagonist is a purposeful subversion of your usual sci-fi protagonist by making him kind of so pathetic to varying degrees. his best friend is either a robot or arguably a robot and also they’re kind of ridiculously gay for each other despite having one sided beef that grows into absolute best friendship. i could write essays on how rimmer and lister are like if pleck and c-53 swapped roles and personalities. rimmer IS nermut if you put them in a room together they’d leave several hours later not shutting up about how they finally met someone who was On Their Level who UNDERSTOOD and APPRECIATED their career goals. one time nermut was very clearly about to get executed but he was COMPLETELY convinced he was getting a promotion—this would happen to rimmer. holly and bargie? okay sentient ship/ship ai nation. they’re both about The Horrors and how important it is to find love for life and for the people around you to get through it. this list does continue i’ve been thinking about this for months. these are the same shows in different fonts and it’s beautiful.

you know what’s insane though. mtz parodies basically every popular piece of sci-fi media in existence and yet there is not a Single red dwarf reference in here. if any of the cast had watched red dwarf there WOULD be a reference somewhere. But there isn’t. these guys don’t know they remade a british sitcom in podcast format. They don’t know how many hysterical episode premises they missed out on

[dustedmagazine]

Dust Volume 4, Number 5

Hot Snakes

It’s time for another edition of Dust, our semi-regular short form exploration of music we might not otherwise get to.  This time Bill Meyer, Jonathan Shaw, Marc Medwin, Justin Cober-Lake,  Jennifer Kelly and Michael Rosenstein ponder basement jazz and large ensemble improvisation, French horror movie synths, Charlottesville-inspired protest and one much loved garage punk band returning to the fray after 14 years.  Enjoy.

Aalberg / Kullhammar / Zetterberg / Santos—Basement Sessions Vol. 4 (The Bali Sessions) (Clean Feed)

This combo may have started out in a basement, but at this point the recording circumstances are a matter of have governmental support. Saxophonist Jonas Kullhammar, bassist Torbjörn Zetterberg and drummer/composer Espen Aalberg first convened to play their version of traditional jazz, which is to say music rooted in the examples of Sonny Rollins in the late 1950s and John Coltrane in the early 1960s. Those elements are still evident; “Pontiac,” for example, is built around a bass line that Jimmy Garrison could have fed Coltrane at the Village Vanguard in 1962. But it seems that Aalberg’s looking farther afield for inspiration these days. On that same tune, Kullhammar and guest trumpeter Susana Santos Silva play harmonies that have more to do with 1970s-vintage Ethiopian jazz. And the session took place not in a Scandinavian basement, but in an Indonesian garden, with full access to a Balian gamelan. Those resonant, metallic sonorities give the music a shimmering quality, as though you’re hearing it through a humid heat haze.

Bill Meyer

 Carpenter Brut — Leather Teeth (No Quarter)

LEATHER TEETH by Carpenter Brut

French dark synth act Carpenter Brut announces a key influence in its name: the minimalist, evocative, synthesizer-driven soundtracks that John Carpenter scored for many of his films, including Assault on Precinct 13, Halloween, Escape from New York and They Live. As the “Brut” bit suggests, Franck Hueso, the creative force behind the project, amps up the volume and the pace of that source material. He endows the music with an intensity that reflects the affect and the themes of the films — a perverse joy in aestheticized violence, the gut-plunge one can feel when watching highly manipulated filmic experiences. And this digital LP further collapses the distinctions between media: Leather Teeth is offered as the soundtrack to an imaginary horror film, complete with plot synopsis, promo poster and the oddly spectral suggestion of the seamy, grainy, VHS-quality vibe of 1980s horror cinema. You can just about feel the voluptuous joy of the bright orange fake blood and the fluorescent glow of the final girl’s wardrobe, especially in the title track and in “Inferno Galore.” It’s a sort of feat, making music this processed and slick feel raw and dirty.

Jonathan Shaw

  Thanos Chrysakis/Chris Cundy/Peer Schlechta/Ove Volquartz — Music for Two Organs and Two Bass Clarinets (Aural Terrains)

This is one for headphone listening. Organists Thanos Chrysakis and Peer Schlechta, in collaboration with clarinetists Chris Cundy and Ove Volquartz, have created an album of morphing space and shifting textural planes. The album’s opening and closing moments are magical, as a landscape haunted by nearly recognizable shades unfolds in reverb-drenched murk. The opening of the fifth section dwells in similar half-light; organ and clarinet tones almost match, floating around each other in rhythms too wet to grasp. The recording itself is a study in contrast pitting a dead-center clarinet against one off to the side, living in a semi-spectral world where pitch relations are as fluid as pulse and meter. Each instrument has a shadow self that headphone listening renders apparent. If the motivic material itself is slightly lacking in contrast, volume, register and timbre make up for that. Chamber organ and clarinet both add layers of percussion against the lines interwoven by the other two instruments. The music justifies the label’s name.

Marc Medwin

 Elephant9 — Greatest Show on Earth (Rune Grammofon)

When your hired-gun psychedelic jazz guitarist goes missing, what do you do? In Elephant9’s case, the answer is — go maximal. There may be one fewer musicians and the tunes may be shorter, but there are a lot of notes packed into each of Greatest Show on Earth’s 36 minutes. There’s also a lot of chutzpah; what else can you call it when an organ-bass-drums trio cops an Emerson, Lake & Palmer line for the name of its record? Fortunately, they subscribe to a heavier but less bombastic lineage. If you plotted this record on graph paper, one axis would be Tony Williams’ Lifetime and the other would be late 1960s Soft Machine. The organ seethes, the mellotron freezes, the bass sprints and feints and the drums pummel hard but elaborate on themes that, if you excised the solos and added some brass, would be more than serviceable cop show tunes for the age of leaded gasoline.

Bill Meyer

 Hot Snakes — Jericho Sirens (Sub Pop)

It’s been 14 years since the last Hot Snakes album, Audit in Progress, and eight since the convergence of two post-break-up outfits, Obits and Night Marches, spawned a one-song reunion at San Diego’s Casbah. Much has shifted since the early aughts rock revival that Hot Snakes always sat at the louder, rougher, closer-to-hardcore end of, and neither Obits nor Night Marchers, for all their positive attributes matched the fire-spitting intensity of their predecessor. You might, then, look askance on this latter day revival, coming conveniently just as Sub Pop reissues the entire Hot Snakes catalogue, and yet you could only do that before you hear the songs, which are just as raw, just as spittle flecked, just as full-throttle enraged as ever. The disc’s starts in flames, with the Wipers-slashing guitar attack of “Call the Doctor,” Rick Froberg’s yowl rising in rage over a hailstorm of crashing rock propulsion. Short, manic “Why Don’t It Sink In?” bangs the hardest at Hot Snakes’ hardcore punk beginnings, while “Six Wave Hold Down,” brings in an expansive So. Cal. surfiness into the mix. “Death Camp Fantasy” ramps up a whiplash punk garage assault, with a ragged group chorus to carry it home, while “Death of a Sportsman,” finishes things off in windmilling, power-chording style. Holds barred?  I’d say none. Score one for the old(er) guys.

Jennifer Kelly

  Joy Ike — Bigger Than Your Box (self-released)

The title Bigger Than Your Box makes a statement about pianist/singer Joy Ike's personality as well as her art. The artistic angle is clear: Ike hits that sweet spot between soul, jazz and pop, and if she doesn't fit cleanly into a genre, she's fine with that. These tracks — full of bouncy piano, a few lush arrangements, and a startling amount of verve — are also about self-definition. Ike refuses to be put into any box, and her music encourages listeners to step out of their own boxes, to “stand up and walk” as she says on “You Betta'.” Across these 11 tracks, Ike rallies anyone in need of rallying. The radio-ready anthem “Hold On” reiterates that “your hope is coming.” Ike walks close to the edge of cheese; when she sings, “You will find your song” or “You are not your fear,” it could tip into eye-rolling territory, but Ike's drive carries the sentiment. She knows there are people who need this sort of song right now, and she's going to make sure they get it. The tunes are infectious, but it's Ike's heart that resonates.

Justin Cober-Lake

 Insub Meta Orchestra — Choices & Melodies (Insub)

Choices & Melodies by Insub Meta Orchestra

It’s impressive to keep a large ensemble with 50 permanent members going for eight years and running. It is particularly impressive when that ensemble focusses on the collective intersection of composition, improvisation and electro-acoustic practice. Founded by Swiss musicians Cyril Bondi and d’incise on the ideas the two describe as “experimentation, of immoderation, of exploring and pushing the limits,” somehow this group of international collaborators has not only managed to keep this project a going concern, they have managed to get together on a regular basis to perform and record. Choices & Melodies is their fifth release, recorded at the same session as their Another Timbre CD from last year (reviewed here by Justin Cober-Lake) and like that one, this LP/digital download is comprised of two pieces credited as “direction and compositions by Cyril Bondi and d'incise.” This iteration of the group is 32-strong, with eight woodwinds, five string players, three guitarists, six utilizing electronics, laptops, and synths, three percussionists, four vocalists, along with hurdy gurdy, viola da gamba and harmonium, forming a rich timbral depth.  

First up is “two choices” using the simple instructions of producing two noises per person and the possibility of a change every five seconds. What transpires over the course of the 16-and-a-half-minute piece is a beguiling, dynamic mix of subtly shifting hiss, abrasions, quavers, crackles and low-end rumbles. Eschewing any sense of tonality, the immersive layers of frictive textures engulf the listener, with constantly evolving fields of subtle nuanced vacillations and densities. One gets the sense of listening in the midst of a giant engine or the groaning hull of a ship and the recording does a great job of capturing the spatial distribution of sounds across the ensemble. The second piece, “autonomous melodies,” takes a quite different tack, utilizing kernels of three or four note free melodies which are distributed across the orchestra. Over the course of 16 minutes, it relies on a relatively loud volume to let the various threads accrue in to mercurially morphing chords and drones. Here, the music benefits from the intrinsic underpinnings of woodwinds, strings, electronics, percussion and elusive scrims of vocalizations which commingle and fragment into changeable pulses and currents. In both pieces, the collective, considered intensity of the full ensemble comes through with gripping results.  

Michael Rosenstein

  Daniel Levin/Chris Pitsiokos/Brandon Seabrook — Stomiidae (Dark Tree)

Stomiidae by Stomiidae (Daniel Levin • Chris Pitsiokos • Brandon Seabrook)

Stomiidae is a family of deep-sea fish, and each of the CD’s seven tracks is named for a genus of that family. Perhaps cellist Daniel Levin, alto saxophonist Chris Pitsiokos and guitarist Brandon Seabrook want to assert that they go deep without being too obvious about it? With their needle teeth and trailing whiskers, Stomiidae look pretty terrifying in photographs, but since they’re usually about six inches long and they prefer to live half a mile under the surface, they pose no threat. But they can handle pressure, and there are moments when this music feels like it is busting out at the seams under the influence of some great internal force. Levin is his usual adroit self, and his confident, quicksilver responsiveness exerts a powerful influence on two other musicians whom I associate more with the delivery of knockout punches than the execution of gravity-defying footwork. But the toughness of their instrumental personalities is nonetheless boiled into their playing, as each note and flinty phrase exerts the persuasiveness of a winning argument.

Bill Meyer

   Mien—Mien (Rocket Recordings)

MIEN by MIEN

Mien draws talent from an inter-continental assortment of garage psych players—Black Angels frontman Alex Maas, The Horrors’ keyboardist Tom Furse, Elephant Stone’s raga rock experimenter Rishi Dhir and The Earlies’ John-Mark Lapham — and this self-titled debut is similarly all over the map. “Earth Moon” starts with a drone-y reverie in Dhir’s sitar with sitar-psych droning (there’s more sitar on “Ropes” if that’s your thing), then picks up the kind of ramshackle propulsion and Velvet-y psych whisper that Primal Scream used to conjure. “You Dreamt” runs noisier and more electronic, layering metallic ping and clicks and rattles over abstract washes of hiss and static. “Odessey,” spelled the way the Zombies spelled it, is the sort of slanting, driving, dark-wave garage psych that you turn to Black Angels for, though leavened, a bit, by a come hither chorus. All these songs are drenched in about three coats of reverb, kludged with noise and generally smeared and obscured, so you know you’ve got a winner when “Tired of the Western Shouting” bursts through and makes a mark. Techno-ethnic Brian Jones Massacre may not sound like exactly what you were looking for, but you’d be surprised, once you get into it.

Jennifer Kelly

 Keith Morris & the Crooked Numbers — Psychopaths & Sycophants: A Message from Charlottesville (self-released)

After the 2016 US presidential election, too much of the immediate response was, “At least we'll get some good protest music out of this.” That may be small consolation to much of the population, but Charlottesville Americana musician Keith Morris turned related feelings into protest album Psychopaths & Sycophants: A Message from Charlottesville, largely guided by the work of Leonard Cohen (covers of “The Future” and “In My Secret Life” book-end the album). The title track is a reworked version of a song from a few years ago, and the changes epitomize the album. Morris's gospel and country-rock influences still come through, but he pulls the rock sound back. For the most part, Morris gives speak-sing performances that harken back to Dylan. His rage comes through regardless of tone, though. On “67%” Morris and guest vocalist Devon Sproule mix that control with rowdier backing. Some of the tracks are a little on the nose to have legs — this is protest music after all — but the album captures a certain mood from “this shattered town” quite well. With a little Randy Newman in the mix, Morris and his band make emphatic points and offer useful catharsis.

Justin Cober-Lake

 Mike Uva—Lights Coming Up (Collectible Escalator)

Everybody I knew at an online music publication that professed to “review everything” had a handful of favorites that emerged from the slush pile, artists so good and so consistently overlooked that it made made it worth while to wade, once again, into the bins of self-releases. (All the new writers complained vociferously about the taking-all-comers policy until they hit one of these; we called it the conversion experience.)  One of mine was Mike Uva, a Cleveland-based songwriter, whose 2004 album Where Have You Been sits right alongside certain GBV, The Folk Implosion and the Capstan Shafts records for smart, tuneful, lo-fi pop excellence. That was a long time ago, but every so often I get a new recording from Uva, and it’s always unassumingly excellent, and this new one Lights Coming Up[JK1]  is no exception. The clear highlight is “Waco,” a driving, slanting, amber-lit time-capsule that connects Uva’s late college years, the FBI stand-off and an acquaintance who disappeared off the grid forever (though whether to join a Waco-ish cult or farm organic vegetables is never clear). Like all of Uva’s best work, the song has an off-handed grace, as if it rhymes and scans by accident, as if he just happens to be telling you a story that fits the chords he’s playing. But of course, there’s a lot of skill behind that kind of nonchalance, a skill that shows up again in the sinuously ear-worm “Waiting to Return,” in the dreamily unhurried “Even the Highways.”  Lights Coming Up is more indie-pop and less country than Lady, Tell Me Straight, the last Mike Uva album, which came out five years ago, but just as effortless. Here’s to the guys (and girls) who do it for love, and do it well and keep at it and get better anyway, even if no one is paying much attention.

Jennifer Kelly

[fortunesoft-it-innovations]

2020 has brought unexpected distress, pressure, and challenges among the disruptive winners. Start-ups are facing hurdles in addition to limited opportunities. There is an urgent need for solutions for issues like fundraising, cash management, marketing, and staff management. With the terrible impact of COVID-19 on our daily lives, FinTech companies are looking forward to creating opportunities favoring the momentum. It is forecasted that the demand for AI and IoT will remain prosperous post-crisis as the need for digital transformation is on the rise and will continue to surge.

Businesses are looking for investing in technologies that promise to improve and automate financial services, keeping in mind the chances of such unexpected distress. Investing in financial disruption will help evolve financial services into time and cost-saving offerings. Though there will be a possibility for some sectors to go through a rough patch, there is a brighter chance for others to embrace the opportunities at this moment.  

Here are the top Fintech trends that everyone should be aware of in 2020. These Fintech trends will impact everything in the financial ecosystem.

1. The Digital Only era

The COVID-19 crisis has brought cash management as a key player because the government has committed to providing trillions of dollars to SME’s, enterprises, and employees. Moreover, there are major technical and fundamental shifts taking place and becoming the new normal, making investors and potential buyers rethink the new way of perceiving value.

The ‘Digital Only’ is tremendously accelerating to becoming the new norm. This shift is not new as we have already witnessed in developed markets.

With digital-only banks, efficiency and convenience are at its best. Whether creating an account or transferring money, you aren’t required to visit the physical branch, stand in queues, and go through a lot of paperwork.

Digital-only banks are growing in numbers and revenue around the globe. It is expected that there will be a significant drop in visiting branches in the future as digital-only banks are capable of bill payments, expense management, a quick review of the account balance, account transaction history, and real-time analytics to add a few among the other features.

Digital-only banks offer global payments, P2P transfers, contactless payments with no transaction fees, Bitcoin, Ethereum, and other cryptocurrency transactions. Digital-only banks have a deep connection with disruptive technologies like Blockchain and Cryptocurrency, making it one of the top fintech trends for 2020.

Another area where technology disruption has penetrated is digital lending. Financial institutions and banks have become highly competitive to invest in innovations for enhancing their lending service offerings, especially during this crisis. They are struggling to provide a more unified, flexible, robust, and efficient solution for digital lending, especially within the SME market.

There is a new style of getting converted into tech companies from financial institutions to contribute to the digital transformation bandwagon.

Financial institutions are partnering with fintech application development service providers to leverage a multi-channel, self-service digital lending process that includes loan processing, collection, screening, and credit scores. They are expecting an end-to-end process that will provide the customers with a smooth onboarding and approval lending experience.

2. Modernizing Finance with Blockchain

The biggest challenges that haunted financial institutions were identity theft and fraud that cost them billions of dollars annually. Blockchain technology is capable enough to save the industry from such significant losses, especially at this situation where cash management is the biggest challenge. Blockchain has been applied in the financial sector for smart contracts, digital payments, trading shares, and managing identities.

Blockchain has taken the responsibility to change the face of financial transactions globally. Blockchain with promising features like speed, global reach, secure, and low processing fees is on the path of faster adoption by financial institutions.

There is a struggle between the companies to ensure the availability of essential products amidst this crisis. To keep their doors open, companies require trust and transparency in supply chain and contracts. Therefore, using Blockchain not only gains visibility throughout the supply chain but also, takes care of quality control and performance benchmarks

With China and the USA leading with maximum usage of Blockchain technology, global financial services are now looking for faster adoption of blockchain in their systems and searching for opportunities to increase fintech partnerships. This will lead to the incorporation of innovations in their traditional payment methods.

Investors are rushing to fintech development companies to increase the global reach of blockchain services and innovations. They are trying to match-up to the ever-increasing usage of blockchain wallets which has set a benchmark of 40 million users worldwide.

3. AI’s significant contribution is ready to mark its presence

Personalization is one of the best and most used marketing strategies to keep customers attracted and loyal to your business. Banks and financial institutions are embracing AI and Big Data for achieving hyper-personalization on an unprecedented scale, in addition, to help them to process, store, and drive in-depth insights from the data.

Moreover, financial institutions have customers data that highlights customer behavior and social browsing history. To deliver a personalized experience to the customers, AI facilitates real-time omnichannel integration of these insights. But AI is more than providing personalized experiences.

Banks are turning for AI-based solutions and strategies to reduce operating costs and save trillions ahead. Banks are trying to acquire AI professionals having the capability to work with unstructured data as AI is well known for dealing with cybercrime, frauds, and other financial threats. With AI chatbots already ruling, financial institutions will no longer stay behind in serving the customers at their convenience and demand and allow faster and secure transactions wherever they are.

Some important facts that you need to be aware of:

AI is the current choice and will continue to be the favorite for banks and financial institutions handling large transactions to help financial surges.

As banks are focusing on reducing the operational costs, AI will help them to save $1 trillion by 2030.

Banks have leveraged the power of AI for customer service that helps them to serve their customers round the clock through email support, live chats, and social media integration.

Banks and financial institutions are continuously trying to improvise customer service by leveraging the power of AI and gain trust and loyalty for their brands.

4. Payments are heavily driven by Innovations

We have been witnessing multiple components in fintech every day due to the innovations in the payment system. Mobile payments like Apple Pay, Samsung Pay, Google Pay, Venmo, contactless payments like PayPal, MasterCard PayPass, Visa PayWave, Square, mobile wallets like DBS Paylah, OCBC Pay, WeChat Pay, AllPay, smart speaker systems like Amazon Echo, Sonos One, Apple HomePod, identity verification technologies, and using disruptive technologies like AI and ML for security are the result of innovation in payment systems.

Mobile payments ramped up a total of $1 trillion value in 2019, thus, deciding to stay ahead in the competition. Contactless payments are popularized enough to reach a target of nearly 760 million by the end of 2020. Mobile wallets are all set to gain a wider audience with the user’s credit cards, reward cards, and many more attractive features in the wallet. 2019 has recorded about 2.1 billion mobile wallet users around the globe.

After years of reluctance, people are finally opting digital wallets and contactless payments to stay safe during the COVID-19 pandemic as it allows them to pay without physical interaction. Contactless payments are all set to hit the market and become the most preferable payment option.

In a nutshell, payment innovations will continue to penetrate the payment systems to improvise the use of payments and enhance the customer experience. Moreover,

Fintech payment innovations are heavily driven bydigital walletsand mobile payments.

Blockchain will heavily disrupt online payment systems globally.

5. Let’s work together with Smart Contracts

Businesses have a greater impact this year due to COVID-19 breakout. Supply chains and traditional legal contracts are looking to get hold of innovative solutions to get digitized at this time and even for the post-pandemic situation. The smart contract helps the businesses to gain greater performance and response agility in real-time. Since smart contracts are connected to identified data sources, the increase of using these 2nd generation digitised contracts is going to escalate. Smart contracts are all set to reduce operational risks and systemic business to match-up this new norm.

What are smart contracts?

Traditionally, when two parties agree on a transaction, the role of the lawyer is to fix the terms of the contract on two separate pieces of paper and ask the parties to sign their end of the agreement in the presence of witnesses. If any breaches happen from either side, they are liable for legal action against them.

The parties sign smart contracts with a digital signature using cryptographic keys. Rather than paper, the contracts are tamper-proof, encoded programmatic structures. The authenticity of the contracts can’t be breached as witnesses, in the case of smart contracts, are numerous computing devices that receive the same copy of the digital contract. Moreover, these devices monitor the contract execution until the complete terms are satisfied.

Some important takeaways for smart contracts:

Smart contracts will get popularized in Fintech this year.

Smart contracts are virtually accessible to anyone, even beyond national borders.

Smart contracts are famous for their robustness, security, trust, and execution capabilities.

In a nutshell, traditional contract inconveniences can be easily overcome by smart contracts. Also, smart contracts speed up the fintech transactions irrespective of time and place.

6. The impact of regulations

The banking and finance landscape will be continued to be dominated by regulations in 2020. 2019 was a year where most of the banks witnessed a great relief by becoming a regulatory compliant with the introduction of PSD2 to avoid the threats against heavy fines. However, PSD2 wasn’t implemented on a larger scale as it was expected as many banks failed to meet the deadlines.

With this, it is clear that 2020 will be all about implementing PSD2 regulations to gain strong customer authentication (SCA). Since PSD3 is in terms to approach sooner, the businesses will continue to witness a strong regulatory presence. Compliance with regulations should be a mandate as banks should be well acquired with the basics before crossing the hurdles that PSD3 will be bringing for them. With PSD3 regulations, the banks should also be capable of carrying a good precision about the specification of API standards, directory services, and infrastructure to eliminate fragmentation.

The need for a flexible and robust digital strategy implementation is vital when it comes to solving regulatory challenges the banks face. Banks must leverage the power of digital transformation as much as possible to create a greater impact on the entire business ecosystem. This will help banks to evolve as a modular body that continues to increase their focus on financial and operational resilience, and become highly responsive to political and social pressures in multiple environments and financial inclusions with higher sustainability.

7. Automation and RPA

Robotic Process Automation (RPA) is all set to impact and disrupt the financial sector in 2020 as well. You can expect it to help the financial institutions to be more efficient, effective, and robust. RPA will continue to help the financial institutions and automate the human repetitive processes. This will further lower down the risk of common errors and inefficiencies, increasing productivity and ROI.

RPA will also help the financial institutions to meet the regulations and compliance requirements of federal and state. In 2020 and beyond, RPAs will not be programmed to perform any task. They can directly observe what humans do and then put forth their suggestions or automate the entire process. RPA is destined for the customer onboarding process, verification, risk assessments, security checks, data analysis, reporting, and many more in the administrative section.

Wrapping it up!

With continuous technology penetration into the financial ecosystem, the financial services will witness a steady growth resulting in the expansion of fintech to unknown territories. Many fintech startups are trying to contribute to the revolutionization of the financial sector in various ways.

Thus these fintech trends mentioned above are ready to change the face of the financial sector and the way customers interact with your business. Fintech is all set to boost up your transactions by offering your customers a hassle-free and no-fuzz experience.