'The Moon Dance' Mark's the come back of one of Chi Towns most innovative and iconic figures to Apnea Records. Jamal Moss (Hieroglyphic Being) sound's were first released on Apnea in 2007. Now, in 2023, he's back with this double 12'' album flooded with synth jazz and cosmic acid explorations in his signature and irreverent style.

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"There is no Acid in this House" is Hieroglyphic Being"s third solo album on Soul Jazz Records, a resolute and powerful statement of Jamal Moss"s raw, vital, pioneering, Afro-Futurist electronic (dance) music. On his new album Moss once-again draws upon the vast scope of experimentation that has defined Chicago"s musical universe over the last half a century - from the birth of house music with the pioneers Ron Hardy, Marshall Jefferson, Lil Louis and others to the radical avant-garde jazz legacy of the city, The Association for the Advancement of Creative Musicians, The Art Ensemble of Chicago and Sun Ra. Chicago"s musical universe continues to push-further forward today with artists such as Hieroglyphic Being, Angel Bat Dawid, Makaya McCraven, and labels such as International Anthem label and Hieroglyphic Being"s own Mathematics, all continuing to explore radical new music while drawing upon the city"s decidedly Afro-futurist lineage.

Tracklist
1.1Communion Of The Highest Order
1.2We Are The Light Vessels
1.3When Situations Get
1.4Look Over There 9 O'Clock
1.5Beyond The Outrage
1.6Frantic Moments
1.7Mephisto's Pulpit Of Stank
2.1Deconstructing The Path
2.2Nights Under The Nubian Sky
2.3Dark Acidic Organs From The Void
2.4Private Runner
2.5Let Me Know How U Really Feel
2.6There Is No Acid In This House (Just Emotions Remix)
2.7Dogs Don't Wear Pants

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Hats off to Jamal Moss for the tongue-in-cheek title of his latest album as Hieroglyphic being, which is naturally another pleasingly wild, freewheeling, imaginative and out-there excursion in his now trademark style. It sees him sprint between mutant electronic jazz ('Circumploar'), out-there analogue techno ('21 Days'), organ-rich post-beatdown chuggers ('Foreboding Self Pleasure'), reverb-laden ambient soundscapes ('A Dream Within a Dream', 'Delta Opus L'), industrial-strength dancefloor weirdness ('The Prograde Direction'), sub-heavy lo-fi deep house ('Black Love On An Early Sunday Morning'), sparse electronic future funk ('Future Shocked'), and jacking, sci-fi seeped brilliance ('The Andromeda Strain'). In other words, it's another excellent collection from one of dance music's genuine geniuses.

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Chicago's HIEROGLYPHIC BEING'S "BLACK HANDS VOL 3" presents more incredibly original analog sonics & organic swings. The 5 tracks "BLACK HANDS SOUND 9, 10, 11, 12 & 13" are all killer! Limited & stamped. Support from NINA KRAVIZ.

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Chicago's HIEROGLYPHIC BEING'S "BLACK HANDS VOL 2" features off kilter filthiness, techno fusion style breaks & distorted acid vibrations only he can do. "BLACK HANDS SOUND 5, 6, 7 & 8" is included on this limited & & stamped release.

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"Synth Expressionism/Rhythmic Cubism" LP from Chicago’s Jamal Moss aka Hieroglyphic Being is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness.


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HIEROGLYPHIC BEING's Volume 3 of 9 "A SYNTHETIC LOVE LIFE VOL 3" features more uptempo freeform electronic mosh pit sonics that were created a decade ago to cassette. Limited & stamped for MATHEMATICS PLUS.


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Chicago's HIEROGLYPHIC BEING'S "BLACK HANDS VOL 1" features techno vibes with subtle waves of deepness & atmospheric acid. "BLACK HANDS SOUND 1, 2, 3 & 4" is included on this limited & stamped release for MATHEMATICS PLUS.

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HIEROGLYPHIC BEING has materialized with the limited & stamped "A SYNTHETIC LOVE LIFE VOL 1" created a decade ago to cassette & sonically presented to higher plane listeners. Volume 1 of 9 for MATHEMATICS PLUS.

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HIEROGLYPHIC BEING'S Volume 2 of 9 "A SYNTHETIC LOVE LIFE VOL 2" features uptempo electronics & simmering circuit boards stamped with Chicago rhythm patterns. Limited & stamped for MATHEMATICS PLUS.

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The 105th record on MATHEMATICS, freeform electronic artist HIEROGLYPHIC BEING (JAMAL MOSS) offers a selection of audio memoirs (Cosmic Bebop & Experimental House). "THE LANGUAGE OF STRINGS" features sonic madness, frequency enlightenment, & Hedonistic modulation. This DLP is some of his best! Picture sleeve.

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The 105th record on MATHEMATICS, freeform electronic artist HIEROGLYPHIC BEING (JAMAL MOSS) offers a selection of audio memoirs (Cosmic Bebop & Experimental House). "THE LANGUAGE OF STRINGS" features sonic madness, frequency enlightenment, & Hedonistic modulation. This DLP is some of his best! Picture sleeve.

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(LP, Vinyl with OBI-strip, 500 copies inc. booklet) Through emotive ambient textures, granular synths, and field recordings, rousay reimagines the Slovak animated fairy tale with a brand-new score. The Bloody Lady stands as a stunning masterpiece of Slovak animation.

Tracklist
A1. i
A2. ii
A3. iii
A4. iv
A5. v

B1. vi
B2. vii
B3. viii
B4. ix
B5. x
B6. xi

A release show is scheduled in De Minard (Ghent, Belgium) on November 13.

Electroacoustic composer claire rousay (US) has announced her upcoming album, ‘The Bloody Lady’, featuring the reimagined score she wrote for Viktor Kubal's 1980 eponymous animated film. Kubal (1923-1997), a pioneering Slovak animator, is considered one of the most influential animation filmmakers of the 20th century.
Known as a singular artist who challenges conventions in experimental and ambient music forms, rousay crafted the score in her home studio immediately after moving to LA over the course of 2023.

The inaugural performance, a screening of the film accompanied by rousay performing the score live, took place at Videodroom / Film Fest Gent 2023 in Ghent, Belgium. The project has since been developed into an 11-track album with alternating themes that evoke the film’s atmosphere while standing on its own as a distinct sonic work.
‘The Bloody Lady’ is set to be released on November 8 via VIERNULVIER Records, the label known for its audiovisual collaborations with artists like Miaux, Hieroglyphic Being, and Mattias De Craene.

The record comes with an extensive booklet including liner notes.



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Tracklist
A1. Transcension pt. I
A2. Transcension pt. II
A3. Transcension pt. III

B1. Away
B2. You and me
B3. Gazing upwards towards the sky
B4. A Stranger that moved me
B5. Shepherd s Glow

Balancing ethereal ambient and hypnotic folk, Mattias De Craene's 'A House Where I Dream' was written as an alternative soundtrack to Alejandro Jodorowsky's 1973 cult classic 'The Holy Mountain'. The album will be presented live with the film on October 16 at Videodroom during Film Fest Gent.

Belgian saxophonist, composer, and producer Mattias De Craene (Nordmann, MDCIII) announces a new solo album, ‘A House Where I Dream,’ on VIERNULVIER Records. On his second album, he delivers a highly personal and healing journey, presented as an alternative soundtrack to the 1973 cult film ‘The Holy Mountain.’

The record will be released on October 11 on vinyl LP and through all digital platforms.

"The Holy Mountain" is a surreal Mexican film from 1973 directed, written, and produced by Alejandro Jodorowsky, who also stars in the film. The film holds a prominent place in avant-garde cinema and explores themes such as spirituality, mysticism, and the quest for enlightenment. It is in this vein that ‘A House Where I Dream’ is crafted.

“My mind and soul - and thus my music - come home to this motion picture” - Mattias De Craene

The album will be presented live with the film on October 16 at Videodroom during Film Fest Gent.



ABOUT THE ALBUM

With hypnotic tape loops, grainy textures, and mesmerizing saxophone, Mattias De Craene creates possible worlds that herald a spiritual transformation. From the Scottish Highlands and desolate mountains to the deepest recesses of the soul, this music has the power to create cinematic landscapes that transcend time and space. The sound of these 8 tracks is closely related to the minimalist compositions of Terry Riley, but the work of contemporary artists like KMRU or William Basinski is also drawn from the same material.

Above all, this album is a deeply personal journey and unintentionally serves as a metaphor for De Craene's ascent of his own mountain. For the Videodroom festival by Arts Center VIERNULVIER, the saxophonist began working on a new soundtrack for the film ‘The Holy Mountain’ in 2023, but his body and mind abruptly called him to a halt, forcing him to take a professional break. However, this project never left him, leading to an honest and raw quest to find himself as both a person and an artist, with Jodorowsky as a companion de route and music as an anchor. It initiated a long process of dismantling, searching, healing and back again. The album not only provides a sanctuary for dreaming to all who listen, but for its creator it also serves as both an outcry of despair and a source of comfort during challenging times.

All the tracks on 'A House Where I Dream' share an unfiltered grain of life, as one can almost feel the damp breath of the saxophone blowing

The album opens with the three-part strong 'Transcention,' where the hypnotic interplay between soprano sax and lo-fi tape loops leads to higher realms of the mind and soul.

Alternating between deep frequencies and farout folk modalities, this mantra-like triptych acquires an alchemical character and ultimately transcends time and space.

In the ethereal 'Away,' one can peer into an abyss of resonance while a saturated tenor sax lends guidance in the spirit of Terry Riley's productions. 'You and Me' also bathes in a similar atmosphere, albeit in the vein of healing 90s ambient as granular sax tones converge with celestial chants. 'Gazing Upwards Towards The Sky,' offers different shades of blue as a slumbering tenor sax is juxtaposed to swift sax patterns. On 'A Stranger That Moved Me,' beauty lands in a soft and subtle manner, while the closing track 'Shepherd's Glow' drifts like a mountain wind flaring up at the darkest hour of the night.

The artwork is created by Gent-based artist Sam Timmerman, who portrays the world of 'A House Where I Dream' with playful repetition and mystique.




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Tracklist
A1. Too much current, too much sand
A2. Put your soul into it a little, ok?
A3. Thank you but I’m never coming back

B1. The old pavilion near the lake
B2. What’s the matter with everyone, why don’t they answer me?
B3. I have no desire for the close company of other people

“An impeccably tuned ear” - The Wire



“Armed with a synth and devastating song writing skills, her music is minimal, melancholic and timeless, somewhere between Roedelius, Ruth White and electronic realisations of Baroque music” - Roope Eronen



“The general gloom MIAUX spreads on her sandwiches is darker than Tatort and could replace any soundtrack of a Fassbinder movie” - Dennis Tyfus



MIAUX PRESENTS NEW LP ‘NEVER COMING BACK’ ON VIERNULVIER RECORDS

The Belgian Composer’s upcoming LP IS INSPIRED BY THE NEW FILM SCORE SHE wrote FOR 60S CULT FILM ‘CARNIVAL OF SOULS’



Antwerp-based composer and synth virtuoso Miaux presents her new album, 'Never Coming Back’ on VIERNULVIER Records. The record is rooted in the recent film score she composed for the surreal and haunted cult movie 'Carnival of Souls' (1962).



Directed by American filmmaker Herk Harvey, this enigmatic ghost film influenced contemporary directors like David Lynch, George A. Romero, and Lucrecia Martel.



Miaux meticulously crafted the score in her home studio, relying solely on her two hands and a single synthesizer during the spring and summer of 2022. The inaugural performance of this renewed score with film, unfolded at Videodroom / Film Fest Gent 2022 in Ghent, Belgium. The compositions were subsequently unraveled, rewritten into full-fledged songs, and assembled into a new record entitled 'Never Coming Back’, bearing Miaux’s unmistakable signature.



The album is scheduled for release on May 3 and will be available on vinyl LP and all digital platforms.



Miaux will perform the album live at Roadburn Festival (NL), offering a pure interpretation of the new songs. Additionally, there are shows planned a STUK (Leuven) and Palmarium (Ghent), where she will perform the film score alongside the film.

Live



19-04-2024 Roadburn festival Tilburg Netherlands

24-04-2024 Stuk Leuven Belgium 'Carnival Of Souls' Live score

08-05-2024 Cafe Foyer Antwerp Belgium

13-06-2024 Palmarium Gent Belgium



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(180gr heavy weight vinyl) Belgian label founded by Viernulvier Arts Centre (formerly Vooruit) to release music composed for theatre, dance and performances. Viernulvier Records‘ first release will be “The Shedding of Skin”, the debut album from the Belgian-Iraqi Use Knife, set to be released on September 30, 2022.

TRACKLIST

A1. Ptolemaic
A2. Coupe d’état
A3. True-Love Not
B1. Ed Wana Ed
B2. To Feed the Gentry (feat. Radwan Ghazi Moumneh)
B3. The Shedding of Skin



INFO
Belgian label founded by Viernulvier Arts Centre (formerly Vooruit) to release music composed for theatre, dance and performances.

Viernulvier Records‘ first release will be The Shedding of Skin, the debut album from the Belgian-Iraqi Use Knife, set to be released on September 30, 2022.

Use Knife is the music project of Stef Heeren, Kwinten Mordijck and Saif Al-Qaissy, in collaboration with multidisciplinary artist Youniss Ahamad. The project first emerged when Stef and Kwinten, both also active members of Kiss The Anus Of A Black Cat, met Saif during auditions for a dance performance. The musical possibilities that presented themselves gave the gentlemen the drive to start the journey of uniting their Belgian and Iraqi musical backgrounds.

The album’s title, The Shedding of Skin, refers to the human survival instinct, the desire to leave war and disaster behind and build a new life in a completely different environment.

In addition to making music and composing together, Saif, Kwinten and Stef had countless conversations in order to gain insight into each other’s lives. These conversations are reflected in the song lyrics: for one of them, the worst is all behind them and they are focused on a brighter future, while the other is aware of all the privileges he has been given. The need to address this inequality is reflected in the combination of dreamy Arab songs with punky Dadaist touches.

For the recordings of the Arabic percussion, vocals and wind instruments, the band worked together with Joris Caluwaerts (Stuff., Lady Linn, Hydrogen Sea,…) in his Finster Studio. The mastering was done by Frederik Dejongh aka Jerboa Mastering. Youniss Ahamad provided the artwork, Farah Fayyad converted the English album title into Arabic script and Jef Cuypers and Chloé D’hauwe realised the graphic design of the cover.


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On June 29th 20203, Jeremiah Chiu walked into the Vintage Synthesizer Museum (VSM) in Highland Park, Los Angeles, with no plan more specific than "let's fire this stuff up and see what happens." Exploring the VSM's vast collection of classic, rare and staple synthesizers, he would sequence, trigger, and layer the machines together with help from VSM founder/curator Lance Hill.

The resulting album - In Electric Time - was recorded in just two days, and edited to completion in the two days following. It was captured fully analog by engineer Ben Lumsdaine, who contributes performances on a few tracks himself. Cooper Crain (of Bitchin Bajas) makes an appearance as well; but ultimately the collection is an intuitive expression of organic electronic conceptualized and created in-context by Chiu alone, as he calls on a lifetime of work in sound synthesis to pain a fulgent, refreshingly undercut sequence of cinematic sketches and in-process themes. In some ways, In Electric Time reflects the directness of Raymond Scott's electronic studio recordings - with sharp cuts and room chatter - and, in others, it conjures the in-the moment- magic of Harmonia.

Tracklist
1.1ElectroComp 101
1.2Seawater Swell
1.3For Voices
1.4Rococco Rondo
1.5A Cloud Song
1.6Rhythm Bell
1.7Brush with Thin Air
1.8Rhythm Serge
1.9Static Stone Railway
1.10Transparent Spheres
1.11Echo Arp Hold
1.12In Electric Time

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Eoism are back with their fourth release. The duo produced six deep and classy electro gems for serious underground sentiments. These timeless bangers can be used both at home and at work; the DJ booth.
Let the robots get up and do the electro boogie!

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Tracklisting:
A1 Serenace - Current
A2 Serenace - Aiming From A Distance
B1 Serenace - Test 21
B2 Serenace - Current (Farron remix)

Sales Note
"The Flying Guillotine 2" is the bloody sequel to Serenace's first appearance on Shaw Cuts in 2019, continuing the head-lopping violence with a group of freedom fighters lead by the heroic Ma Teng battling against the evil despot Emperor Yung and his reign of terror.

Teng has developed a protective device, similar to a spiky metal umbrella, that allows him to defend against the deadly flying guillotine attacks of the violent regime. "Current", its bombastic drum patterns, razor-sharp synth waves and vicious vibe strengthens the rebels to resist the brutal assaults.

But the Emperor immediately reacts, creating a double flying guillotine to counter Ma Teng's iron umbrella and the rebel union is left defenseless again. "Aiming From A Distance", a vivid breakbeat cut combining rolling percussion, arpeggiated synth chords and sirens from hell, raises the rebels' hopes to give them another answer.

Secret insurgent Na Lan infiltrates the Emperor's inner circle by gaining his trust with a group of female warriors whom he allows to train with the flying guillotine palace guards. However, Na Lan only wants to steal the plans of the improved weapon and deliver it to the rebel squad, in order to devise another counteracting force. With the crisp bassline and the energy-filled breaks of "Test 21", the rebels can gain an insight into the elaborated guillotine and find a possible way to defeat it.

Farron's profound techno version of "Current" brings in the necessary tension for the final showdown. The improved double flying guillotine VS a new secret defensive system. Will the rebels be able to team up and defeat the tyrant once and for all? No matter what happens, the saga continues.

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2023 repress

Tracklisting:
A1 DJ Savage - Long Time
A2 DJ Savage - Breaking Point
B1 DJ Savage - Cover-Up
B2 DJ Savage - Threshold

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Fruit Merchant returns with head honcho Hidden Spheres supplying the goods once again. Following on from the success of his last Rhythm Section release 'Tanzen', Hidden Spheres is back in turbo mode, this time with 'Get Lover' a true tried and tested dance floor destroyer.

The Fruit Merchant crew had only one artist in mind when it came to remix duties and that is local Manc supplier of dance floor bangers DJ Absolutely Shit.

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Rhythm On The Loose “Break Of Dawn” is quite simply one of House Music’s all time classics. Producer Geoff Hibbert was inspired by seeing dawn break on an Italian coast line to draw inspiration from Moby’s anthemic “Go” and disco gem “Let No Man Put Asunder” by First Choice to create his loving homage to the UK Rave scene. Network set up a label “The One After D” to release a limited edition press of the instant classic to create demand. One of the first copies was picked up by Kevin Saunderson and his relentless playing of the track helped fuel interest in the USA. The first release on Network in 1991 established the track as iconic. That original mix is here and still sounds as fresh as ever. Perfect in fact. The 12” also contains remastered versions of the 1995 remixes by Rhythm On The Loose, Strike and Stonebridge.

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Isle Of Jura’s second longplayer reissue is an album from Ingleton Falls that touches upon Ambient, Dub, House and Balearic styles and was originally released in 1991 as a limited run of 100 self distributed cassette tapes Ingleton Falls are Andy Hannam Seymour and Andy Eardley from Tyne and Wear in Newcastle. Having come from a more traditional band background originally, Ingleton Falls was their electronic project and the result of a love of acts like Dub Syndicate, African Headcharge, Gary Clail, The Orb and The KLF. Andy Hannam Seymour remembers “It was a very creative time musically, there was a lot going on around us that used new technology. I was excited by the possibilities. Up until then I'd been playing guitar with a more traditional drums/bass/guitar/vocal band with all the 'musical differences' that entailed (the two bands ran side by side for a while). I also liked the idea that you could write and record a piece of music that was ready to release yourself, rather than it being a demo or having to pay a lot of cash for studio time. That DIY aspect was a lot of fun.” The album is split into 2 parts, ‘Aware’ and ‘Unaware’. Andy explains “We decided that 'side1' and side2' were pretty dull and came up with the aware and unaware division based on a kind of enlightened and unenlightened mind kind of idea. The unaware side had the tunes with themes like necrophilia and samples of christians and the aware side was more expansive mindful themes.” Equipment used the make the album included a Cheetah SX16 sampler, Alesis HR16 Drum Machine, Yamaha FG440 Acoustic Guitar, Tokai Stratocaster Guitar and an Atari ST computer running a Steinberg Pro 24 sequencing program (from floppy disk!). Due to a lack of sampling memory sounds were added live from cassette into the final mixes.
25 years later these songs finally reach a wider audience, initially via a limited cassette release followed 6 weeks later by the 180 Gram Heavyweight L

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