When words trail off at the beginning of claire rousay's Everything Perfect Is Already Here, ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as you trace rousay's collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. Everything Perfect... is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form. rousay builds a fluid landscape around the acoustic contributions of Alex Cunningham (violin), Mari Maurice (electronics, violin), Marilu Donovan (harp), and Theodore Cale Schafer (piano), whose respective melodies weave gently in and out, sometimes steady, sometimes aching, sometimes receding altogether in deference to less overtly musical sounds. That is, percussive texture in the form of unvarnished samples and field recordings: the rattle and rustle and the stops and starts of life unfurling, voices sharing memories nearly out of reach, doors closing, wind against a microphone. Everything comes from somewhere in particular, possessing the veneer of the diaristic, but sound's provenance is secondary here and so these details become tangled and fused. Such details sound not as individual ornaments or stories but the collective architecture of the greater composition. It's an architecture that is not quite formed and thus full of openings out to the world unfolding. "The world unfolding," that's a kind way of saying change, movement, loss, transformation. Things rousay here indexes, not without shards of desire or pain, still somehow what I hear is coarse peace in the in-between. Everything Is Perfect Is Already Here is loose and beautiful in surprising ways. The music guides a certain experience of the world around. In claire's music there is this marriage -- not just a pairing or juxtaposition but an interrelationship, an eventual confusion -- of song/texture, narrative/abstraction, figure/ground. Everything comes from somewhere in particular but not just the voices, the field recordings, the what is being said or meant, what matters is "the where you are now". There are so many ways of anchoring oneself in the present, some have to do with fantasy or storytelling and some with accepting what is. These two compositions find peace between these modes. They sweep you away and then bring you to earth, but which is which, anyway? Their mode of feeling is inquisitive.

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(black vinyl, booklet, 500 copies) Renowned French musician and artist Félicia Atkinson announces new album SANS VISAGE, a reimagined score for Georges Franju’s cult 1960 horror classic Les yeux sans visage (Eyes Without a Face), out June 26 via VIERNULVIER Records. The news arrives alongside lead preview “Les Yeux II” and follows her recently released collaborative album with Christina Vantzou, Reflections Vol. 3: Water Poems, via RVNG Intl., as well as her acclaimed solo releases Promenades and Space as an Instrument on Shelter Press.

Tracklist

A1. Félicia Atkinson - "Les Yeux I"
A2. Félicia Atkinson - "Les Yeux II"
A3. Félicia Atkinson - "Les Yeux III"
A4. Félicia Atkinson - "Les Yeux IV"
A5. Félicia Atkinson - "Les Yeux V"
A6. Félicia Atkinson - "Les Yeux VI"
B1. Félicia Atkinson - "Sans Visage I"
B2. Félicia Atkinson - "Sans Visage II"
B3. Félicia Atkinson - "Sans Visage III"
B4. Félicia Atkinson - "Sans Visage IV"
B5. Félicia Atkinson - "Sans Visage V"

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Renowned French musician and artist Félicia Atkinson announces new album SANS VISAGE, a reimagined score for Georges Franju’s cult 1960 horror classic Les yeux sans visage (Eyes Without a Face), out June 26 via VIERNULVIER Records. The news arrives alongside lead preview “Les Yeux II” and follows her recently released collaborative album with Christina Vantzou, Reflections Vol. 3: Water Poems, via RVNG Intl., as well as her acclaimed solo releases Promenades and Space as an Instrument on Shelter Press.

Tracklist:

01. Félicia Atkinson - "Les Yeux I"
02. Félicia Atkinson - "Les Yeux II"
03. Félicia Atkinson - "Les Yeux III"
04. Félicia Atkinson - "Les Yeux IV"
05. Félicia Atkinson - "Les Yeux V"
06. Félicia Atkinson - "Les Yeux VI"
07. Félicia Atkinson - "Sans Visage I"
08. Félicia Atkinson - "Sans Visage II"
09. Félicia Atkinson - "Sans Visage III"
10. Félicia Atkinson - "Sans Visage IV"
11. Félicia Atkinson - "Sans Visage V"

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(CD, digipack, 300 copies) Blending elements of jazz, classical, and minimalism, the trio forges a unique language of their own, creating slowly unfolding soundscapes where melody and silence intertwine.

Belgian violinist and composer Elisabeth Klinck announces the debut album of her ensemble, Klinck Trio, on VIERNULVIER Records. My Hair is Everywhere will be released on November 7, 2025 on vinyl LP and through all digital platforms.
Rooted in improvisation and guided by openness, the Klinck Trio — Adia Vanheerentals (saxophone, voice), Maya Dhondt (piano, voice), and Elisabeth Klinck (violin, voice) —crafts music where sound and silence are equally vital.
Their debut album is an exploration of fragility, unfolding like a delicate conversation in which each note is chosen with intention and every pause carries presence.
Recorded in the summer of 2024 at Studio Ledeberg, My Hair Is Everywhere captures a moment in time: three musicians meeting in sound, each bringing their own timbre, language and natural state of being into dialogue. Klinck offers seeds of material —metaphors, sketches, sonic ideas — that the ensemble shapes into fully formed pieces. The result is an album that stands complete, yet carries within it the openness to unfold further in live performance, where new layers and resonances can emerge.
In the spirit of American composer and pianist Meredith Monk, the trio embraces lightness and vulnerability, crafting soundscapes that feel both childlike in their intimacy and expansive in their emotional reach. My Hair is Everywhere balances melancholy, tenderness, and harmonic interplay with silence, breath, and resonance—the subtle negative space where music continues beyond the notes themselves.
By recording in close proximity, every detail emerges: the strike of piano pedals, the clicking of saxophone keys, the intake of breath, and the faint displacement of air. Textures of dragging violin, whispered fragments, and soft humming become almost tangible, drawing the listener fully into this intimate, enveloping present
moment.
Above all, this compelling debut is an invitation to listen differently: to enter a transformative space where three distinct musical voices find each other in fragility.
The artwork, created by French artist Annabelle Guetatra, reflects the album’s sense of lightness through color and playful collage work.

Tracklist

1. Klinck Trio - Infinity Forever
2. Klinck Trio - My Hair Is Everywhere
3. Klinck Trio - Little Song
4. Klinck Trio - Lullaby
5. Klinck Trio - Flirting Around

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(LP, black vinyl, booklet, 300 copies) Belgian formation Razen joins forces with Dutch composer and theatre musician Dick Van der Harst for a new collaborative album Stained Glass Starling.
Between modal mysticism and otherworldly folk trance, “Stained Glass Starling” draws the Razen universe into its deepest listening mode yet.
After their recent LP Mirages (Kraak Records, 2025) with French turntablist Guilhem’All, the group continues to explore collaborations with artists and instruments from diverse musical traditions. Building on decades of uncompromising acoustic exploration, Razen delves deeper into their practice with five improvisational pieces that unfold slowly in time and space. The duo’s radical core - Brecht Ameel and Kim Delcour - finds in Van der Harst a longtime kindred spirit, united by the impact of sound, intonation, and the sheer joy of playing.

Tracklist
A1. Razen - Stained Glass Starling
B1. Razen - Jalak Bali Egg
B2. Razen - Murmur Murmur
B3. Razen - Starling Gut
B4. Razen - In The Reeds

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(Featuring Quelle Chris and Porcelain id) Belgian artist Youniss announces the release of his ambitious new album, 'Good Effort!'.
Inspired by the concept of the city as a living, complex entity - a feeling Youniss describes as the difference between "living in a city [and] just being in that city" - Good Effort! is an open-ended narrative drawn from the artist's own experiences, including growing up on the outskirts of Antwerp.
Like a vibrant city itself, the album is a culmination of organic interactions, layered with diverse perspectives from a collective of artists. Good Effort! features a dynamic cast of collaborators, including international heavyweights like Pink Siifu, Petite Noir, and Quelle Chris, alongside celebrated names from the Belgian underground such as Dienne and Porcelain id.
While retaining his critical edge - especially on themes like gentrification, an acute problem in his home city - Youniss explores the full range of his voice across the album's tracks, resulting in a warmer, more texturally diverse sound.
Despite the cynicism forged by witnessing his environment change - like the flattening of the beloved venue Onder Stroom for a parking space - Youniss offers a crucial message of perseverance. The album's title, Good Effort!, is a defiant embrace of trying again.



Tracklist
A1. Still Point
A2. Gits Worse (feat. Petite Noir)
A3. Notice
A4. Glass Ceilings
A5. Take That (feat. Pink Siifu)
A6. Open To Interpretation (feat. Quelle Chris & Porcelain ID)
B1. Birds (Real) (feat. Ashden & Amani)
B2. Found Footage (feat. Dienne)
B3. The Sun is Falling! (feat. Seigfried Komidashi)
B4. Kill The Light
B5. Roof Collapses
B6. Why Don’t You?


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(LP, black vinyl, 300 copies) Belgian electronic duo schntzl, known for their fearless live improvisation and playful fusion of jazz, Dada, and ’90s trance kitsch, invite listeners to hear sound anew with their latest album.
On their new album Fata Morgana, an illusory trip of emotion and confrontation, Belgian duo schntzl conjure mirages of fleeting realities while diving headfirst into a trance-driven, confrontational digital sound.
Fata Morgana unfolds like a hyper-visual journey, constructing enveloping dreamworlds through trance-infused live electronica. Yet trance here is present not in form but in essence—an intensity, a state of being. It may stir the same emotions as club music, but schntzl express them in a language entirely their own. Kitsch loops, improvisation, and distortion bend their music into illusions that dissolve and reappear, creating sonic worlds that never settle into habitual patterns.



Tracklist
A1. Magicland
A2. Fanta Merino
A3. Tamagotchi Baby
A4. Jardin Secret
B1. Oasis
B2. The Hill
B3. Hard Fantasy
B4. My Singing Heart
B5. The Pearl


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(LP, black vinyl, 200 copies) The album captures two years (2021–2022) of tape-loop explorations, weaving together fragments from live performances in Ghent, Brussels, and Eupen’s Meakusma Festival into one slowly turning constellation.

Belgian musicians Pieter Dudal and Adriaan de Roover unveil pivot rotations, out November 21 on VIERNULVIER Records. is available for streaming now on all platforms.
At its heart, pivot rotations is about movement and return: constellations revolving like a mobile, blocks of sound circling on their axis, clocks whose hands fold back into themselves. Layers of tape loops glide past each other, creating a measured calm that invites meditative stillness while holding subtle tension — a quiet pull that draws thelistener forward.
Recorded live and later assembled as a continuous sound collage, the pieces carry the grain of their making: worn tapes with sunbleached grit, accidental bleed from earlier forgotten recordings, the soft roar of room air, and the crackling, creaking bodies of the machines themselves.
Working with tape machines older thenthemselves, including one with a slightly offspeed running motor, the duo embraced imperfection as material. Loops are mounted onstands, adjusted by hand, and allowed to drift, transforming the process into a meticulous, almost artisanal craft — a performative act where control meets surrender.
This physical, performative practice shapes the album’s pacing: changes arrive with patience, textures overlap, and patterns hover between calm and unrest. Found sounds, the warm, coppery voice of a euphonium, and hushed electronics flicker through a field of magnetic tape hiss, forming constellations that gradually rotate and dissolve.
With pivot rotations, dudal & de Roover present more than a document of performance — it is a patient study of time, texture, and chance. In the spirit of William Basinski, Cristina Vantzou, and the early works of Tim Hecker, the album opens a space where loops breathe, collide, and subtly reconfigure, revealing new contours with each turn.
The album artwork features a picture by visual artist Jelle Martens, inspired by patterns found in daily life, and resonates with the album’s tactile, evolving sonic textures.



Tracklist
A1. e
A2. a
A3. ab
A4. b

B1. bc
B2. c
B3. cd
B4. d


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(LP, black vinyl, 200 copies) Blending elements of jazz, classical, and minimalism, the trio forges a unique language of their own, creating slowly unfolding soundscapes where melody and silence intertwine

Belgian violinist and composer Elisabeth Klinck announces the debut album of her ensemble, Klinck Trio, on VIERNULVIER Records. My Hair is Everywhere will be released on November 7, 2025 on vinyl LP and through all digital platforms.
Rooted in improvisation and guided by openness, the Klinck Trio — Adia Vanheerentals (saxophone, voice), Maya Dhondt (piano, voice), and Elisabeth Klinck (violin, voice) —crafts music where sound and silence are equally vital.
Their debut album is an exploration of fragility, unfolding like a delicate conversation in which each note is chosen with intention and every pause carries presence.
Recorded in the summer of 2024 at Studio Ledeberg, My Hair Is Everywhere captures a moment in time: three musicians meeting in sound, each bringing their own timbre, language and natural state of being into dialogue. Klinck offers seeds of material —metaphors, sketches, sonic ideas — that the ensemble shapes into fully formed pieces. The result is an album that stands complete, yet carries within it the openness to unfold further in live performance, where new layers and resonances can emerge.
In the spirit of American composer and pianist Meredith Monk, the trio embraces lightness andvulnerability, crafting soundscapes that feel both childlike in their intimacy and expansive in their emotional reach. My Hair is Everywhere balances melancholy, tenderness, and harmonic interplay with silence, breath, and resonance—the subtle negative space where music continues beyond the notes themselves. By recording in close proximity, every detail emerges: the strike of piano pedals, the clicking of saxophone keys, the intake of breath, and the faint displacement of air. Textures of dragging violin, whispered fragments, and soft humming become almost tangible, drawing the listener fully into this intimate, enveloping present
moment.
Above all, this compelling debut is an invitation to listen differently: to enter a transformative space where three distinct musical voices find each other in fragility.
The artwork, created by French artist Annabelle Guetatra, reflects the album’s sense of lightness through color and playful collage work.



Tracklist
A1 Infinity Forever
A2 My Hair Is Everywhere
B1 Little Song
B2 Lullaby
B3 Flirting Around


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Tracklist

A1. Part I
B1. Part II

(LP with obi strip, incl. booklet) A meditative, folk-inflected score rooted in improvisation, ‘Dragon’s return’ echoes the soul of A film long buried behind the Iron Curtain

With Dragon’s Return, Australian composer and multi-instrumentalist Oren Ambarchi and Norwegian guitarist Fredrik Rasten present a new, meditative score to Eduard Grecner’s eponymous 1967 Slovak cult film — a stark, black-and-white parable.

The album captures a unique live performance recorded at the Videodroom Festival during Film Fest Ghent in October 2024, where this new score premiered alongside the film in collaboration with the Slovak Film Institute. What began as a fleeting, improvisational encounter between music and image has since taken on a life of its own — an evocative sound world that retains its power even in the absence of visuals.

The album will be available on vinyl and all digital platforms from September 12 via VIERNULVIER Records. The vinyl edition includes an obi strip, a booklet with film stills, and extensive liner notes on the film.

The label is known for shedding new light on forgotten films through reimagined soundtracks — claire rousay’s acclaimed The Bloody Lady being the most recent example.

“Folklore meets avant-garde in an ancient drama - a ballad about love, hate and finding a way out of loneliness” - Rastislav Steranka (Slovak Film Institute)

Ambarchi and Rasten do not accompany the images so much as speak through them. Their interplay — on guitars, flutes, percussion, and voice — unfolds slowly, without a fixed destination, culminating in subtle, entrancing drones. With few breaks or ruptures, this trippy, folk-inflected continuous composition invites surrender.

Rasten’s 12-string guitar and delicate use of voice create layered textures that shimmer and shift. Ambarchi, known for his electro-acoustic work, here explores a radically softer mode — strumming, bowing and coaxing tones from his instrument as though it were a string section unto itself. He blows into shells, adding breath and texture to the sonic palette, touching on something elemental.

Together, they evoke a sound world that feels both ritualistic and strangely familiar — as if echoing from a forgotten ceremony or dreamed into being after hearing an old folk tale. Rooted in improvisation, the music speaks in tones both intimate and expansive, shaped live in dialogue with the film and with each other, with only minimal overdubs added afterward.




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(1XLP, black vinyl, 200 copies incl. insert sleeve and booklet) Nele De Gussem announces debut album ‘The Loom Of Longing’ on Viernulvier Records

Tracklist
A1. Wonder
A2. Say Yes
A3. Harvest
A4. The Gardener

B1. The Pool
B2. The Loom
B3. Chavanon
B4. Empty Room

Release Info:

Balancing mystic pop, psychedelic ambiance, and pulsating electronica, her debut LP weaves a divine, harmonic universe

Ghent-based singer-songwriter and composer Nele De Gussem (Uma Chine) has today announced her debut solo album The Loom Of Longing, out February 7 2025 on Viernulvier Records.

De Gussem has delivered a sensational album of mystic pop, psychedelic ambiance and pulsating electronica. To shape her divine harmonic universe, she has a preoccupation with soundscaping that involves using her sensual voice and electronic/analog instruments as a sort of palette of rich textures where she’s the auteur, as opposed to the cog in a bigger machine as she’s been with her band, Uma Chine.

“This album celebrates having found desire as a compass in my life and as a medicine to quell fear, holding back and keeping silent.”

— NELE DE GUSSEM



The cracking first single from the album - ‘Wonder’ comes with an eye-popping music video by Belgian visual artist Victor Verhelst (STROOM). Verhelst crafts a unique collage of 90s computer game-inspired motion graphics, which has an otherworldly appeal and highly symbiotic relationship with the music. Rarely do the marriage of visual and musical arts come together so invitingly.
Of the single’s feel, Nele De Gussem says: “‘Wonder’ is about the paradoxical situation of being at a party and finding stillness within. Introspection amid exuberance; tranquillity amid joy. It’s like being swept away by a rush of light - feeling our head in the clouds - but feeling equal magic in the corporeal self.”


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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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Genre: Electronic, Left-field



TRACKLIST:

A1. Quadric Surfaces 7:18
A2. Triquetra 4:11

B1. Ogee 7:21
B2. Cellies 5:04

C1. Brachistochrone 4:35
C2. Conchospiral 7:52

D1. Butterfly Curve 6:07
D2. Diacaustic 8:13




• New album by Hieroglyphic Being features score for abstract animation film.

• Through off-world frequencies and raw primal sounds, ‘Quadric Surfaces’ presents a collection of exploratory left-field dance music.

• 2LP, pressed on black vinyl, printed inners.

• Artwork by Gabriela González.



VIERNULVIER RECORDS presents its new LP release ‘Quadric Surfaces’ by iconic electronic producer Hieroglyphic Being aka Jamal R Moss. It collects the soundtracks Moss wrote for ‘Parellel Spheres’ & ‘Figures in Mynd’, two parts of an abstract animation film by visual artist Gabriela González Rondon. The film premiered in October 2023 during Videodroom / Film Festival Ghent.

In her surreal and trippy gem of analog filmmaking Gonzales draws up whole universes of movement and color that seem to share a spiritual space with likeminded sci-fi writers such as Ursula K Le Guin or filmmaker John Whitney. The soundtrack for this dreamy experiment was provided by kindred soul and psychonaut Hieroglyphic Being.

For over 20 years Moss has been an one-off musical explorer that takes inspiration from House, Industrial, Kraut, Avant-Jazz and Noise to make his spectacularly unique take on radical & psychedelic (dance) music.

VIERNULVIER RECORDS is the Belgian record label by VIERNULVIER Arts Centre (Ghent). The label focuses on music that is unconventional, unafraid to go against the grain. A mix of local and international talent, always linked to visual arts or performances.

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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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(black vinyl, booklet, 500 copies) Renowned French musician and artist Félicia Atkinson announces new album SANS VISAGE, a reimagined score for Georges Franju’s cult 1960 horror classic Les yeux sans visage (Eyes Without a Face), out June 26 via VIERNULVIER Records. The news arrives alongside lead preview “Les Yeux II” and follows her recently released collaborative album with Christina Vantzou, Reflections Vol. 3: Water Poems, via RVNG Intl., as well as her acclaimed solo releases Promenades and Space as an Instrument on Shelter Press.

Tracklist

A1. Félicia Atkinson - "Les Yeux I"
A2. Félicia Atkinson - "Les Yeux II"
A3. Félicia Atkinson - "Les Yeux III"
A4. Félicia Atkinson - "Les Yeux IV"
A5. Félicia Atkinson - "Les Yeux V"
A6. Félicia Atkinson - "Les Yeux VI"
B1. Félicia Atkinson - "Sans Visage I"
B2. Félicia Atkinson - "Sans Visage II"
B3. Félicia Atkinson - "Sans Visage III"
B4. Félicia Atkinson - "Sans Visage IV"
B5. Félicia Atkinson - "Sans Visage V"

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Paradessence, Visible Cloak’s third full length, is an album of tension and reassurance. Its thirteen songs shift, heave, and shimmer against a faintly luminous backdrop of night, a cavern-like space shaped by sparse hyperreal representations of the natural world. The arrangements are simultaneously grandiose and fragile. As adventurous as anything they’ve produced so far, Paradessence is both an inversion and culmination of what came before.

Since becoming Visible Cloaks in 2014, Spencer Doran and Ryan Carlile have explored oppositional concepts like organic and artificial, randomness and deliberation, authenticity and reproduction, through a complex set of cultural influences. Paradessence continues this kind of balancing act but brings these strains into greater urgency as life in the 21st century is reordered by these same tensions.

Tracklist:

1.Apsis
2.Skylight
3.Disque (ft. Motion Graphics)
4.Balloon
5.Slippage
6.Telescoping
7.Shapes (ft. Yoshio Ojima and Satsuki Shibano)
8.Thinking (ft. Félicia Atkinson, Yoshio Ojima and Satsuki Shibano)
9.Zinna
10.Swirl
11.Steel
12.Intarsia (ft. Ioana ?elaru)
13.Capgras
14.System (ft. Componium Ensemble)

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Ana Roxanne returns with Poem 1, an album that displays a new-found boldness and arrives on kranky May 1st.

THE GUARDIAN - "Keepsake" included in tracks of the week (20th Feb) "devastatingly stark… suffused in grief"


"I wanted to travel / Home into somewhere,"Ana Roxanne breathes across an eerie suspended drone on "The Age of Innocence". "I wanted to try / And go very far." These are the first words we hear on Poem 1 and reintroduce an artist who's in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago.

Heartbroken and reflective, Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures.

Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on "Berceuse in A-flat Minor, Op. 45", making each word count.

On "Keepsake" meanwhile, she sounds as if she's alone in an abandoned bar, stroking the dust off the piano's keys as she inventories her emotional scars. There's a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. "Untitled II", the album's pronounced, uninhibited centerpiece, delivers on the Lynchian promise that's been present since her first EP, 2019's ~~~. "

And when she interprets the Robert Schumann's lied "Stille Tränen" on "One Shall Sleep", she turns Justinus Kerner's words into a whispered echo of her own grief, narrating the 19th century poem over syrupy synthesizers and strings. There's a light emerging on the horizon, though; burying her past on the choral standout '"Cover Me", Roxanne shifts the pace and the mood on 'Atonement', lifting her voice into a gentle lilt.

press quotes for previous album Because of a Flower:
''The Californian musician seems to ponder the mutability of gender on her second album, which offers a magical out-of-body experience'' 4/5 The Guardian
"Because of a Flower gives us a glimpse into a very specific world of sound - aquatic, earthen, and airborne, all at once - and it is a treat to get lost in." - Beats Per Minute
"It feels like bathing in moonlight." - Pitchfork

track listing:
1. The Age of Innocence 2. Berceuse in A-flat Minor, Op. 45 3. Keepsake [listen] 4. x 5. Untitled II 6. One Shall Sleep 7. Wishful (draft) 8. Cover Me 9. Atonement




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„ behind horizons at the end of a breath why I love luna parks *_* „

Ben Kaczor debuts his first LP on St. Odes. Sirene showcases a more experimental and cinematic approach to sound. Tracks such as Amusement Impressions and Phantom Blues emerged from his fine art studies, while Sirene and Oval Waves reflect his work with the Buchla Easel. The artwork features a photograph by the artist himself, making the record one of his most personal works to date.

artwork by : Ben Kaczor / mastering by : Isabel Schröer

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A rare and juicy tropical fruit. Acid Pauli conjures up a summer hit here. The original version was written by Val Xalino (singer, guitarist, percussionist, ukulele player), a legend from the Cape Verde Islands. His albums from the 1980s are extremely rare. Dançá Dançá!

TRACKLIST:

Side A: A1. "Dançá Dançá T'Manchê" (Acid Pauli's Fullmix) (6:59)
Side B: B1. "Dançá Dançá T'Manchê" (Acid Pauli's Autowah Dub) (6.20) B2. "Dançá Dançá T'Manchê" (Acid Pauli's Sublib Dub) (6.59

LINKS:

Website (Acid Pauli): www.acidpauli.de
Instagram (Acid Pauli): www.instagram.com/therealacidpauli
Facebook (Acid Pauli): www.facebook.com/therealacidpauli
Resident Advisor (Acid Pauli): https://de.ra.co/dj/acidpauli
Spotify (Acid Pauli): https://open.spotify.com/intl-de/artist/3LHqODf1hGAgZ5LTw1Gf4C
Spotify (Val Xalino): https://open.spotify.com/intl-de/artist/0Ypk9dtgVcxLJXwjJxDDIg

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Tokyo producer Calm supplies a steady shore's lapping of sound with his next album, Ambient Jazz, not far after his previous records Before and Quiet Music Under The Moon. After a period of sharp emotional whiplash, Calm sets in again to moll the nerves here, serving a full plate of smooth new age and sonic draperies, recalling the night time jazz chasms of John Hassell especially. Between prefectures Tokyo and Yamagata, trusted collaborators are once again folded in, Calm asking them to prioritise tone over improvisation; saxophonist Kato takes central improv stage again on the plainly titled 'Jazz Acid 2' and 'After Dark', while deeper sus-chord shades stark jazz on the likes of 'Space Ritual'.

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World of Echo unites with the confounding genius of TRii for a highly limited first time vinyl run of 2020's Music For Desert Reboot tape, first released as TRj on the TRjj Musik label and then again as a second cassette by Mascarpone earlier this year.

As with all the sounds produced within the TRjj/TRii /TRj/TRi universe, strange illusion is part of the process, and this is certainly music that befits such smoke and mirror nomenclature, a kind of gamelan Werkbund re-programmed via the isolationist sounds of DIY home electronics conceived for a film that might or might not actually exist. Consider this time-dilation rug-pulling that's well in touch with its own mythology, so much so that it's hard to think of any obvious contemporaries, but if you've ever enjoyed the minimalist murk of Civlistijavel, the private quarters confessionals of Thomas Bush's first LP or any one of Guy Gormley's projects, you'll not got too far wrong here. Is further clarification required? That perhaps misses the point, though there is a track that features around two-thirds in entitled 'First Time Realizing the Clock Was Absent' that might function as a form of instruction to the listener. Namely, where does the time go? Music For Desert Reboot might not provide the answer, but it certainly knows how to ask the question.

Re-mastered for vinyl by Jose Guerrero at La Plataforma Continental. Edition of 150, with hand-numbered, stickered sleeves.

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Repress!

* A legendary yet long lost crown jewel from the early 80s Japanese Electronic and Jazz Rock scene
* new powerful master, much appreciated by the artist
* 2LP in UV-glossy laminated gatefold sleeve with OBI
* includes A1 Poster 60x60cm and lyric sheet
* vinyl comes in Japanese Katta innersleeves

Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as “Mariah” was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here.

The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone.

As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese.

An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes.

Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to.

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Transversales Disques proudly presents Thelonious Monk / Live in Paris (1966).
LOST ORTF RECORDINGS. A unique pianist and composer, Thelonious Monk (1917-1982) is one of the greatest jazz legends of all time. Thelonious is surrounded by his legendary quartet featuring Charlie Rouse (saxophone ténor), Larry Gales (bass),and Ben Riley (drum).
First ever official release of this lost ORTF recording performed live in Paris at Studio 104, Maison de la Radio.Release with the full permission and cooperation of the National Audiovisual Institute (INA).
Deluxe Tip-On Jacket / Exclusive Liner notes

A1 - I Love You (Sweetheart Of All My Dreams)
A2 - Lulu's Back In Town
A3 - Just a Gigolo
B1 - I'm Getting Sentimental Over You
B2 - Crepuscule With Nellie
B3 - Epistrophy

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