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viewing 1 To 8 of 8 items
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CD
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VIERNULV 019CD
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$20.00
PREORDER
RELEASE DATE: 10/2/2026
While composing the music for The Juniper Tree, Midori Hirano drew on her own memories of touring Iceland, which included a stop at a waterfall featured in the film and rendered in sound on "Mother's Path." Folktales, like the origins of The Juniper Tree, are often attempts to contend with humans' place in the natural world, with all its mysteries and intricacies, and both the film and Hirano's soundtrack draw their sense of breathless wonder in part from the sensation of being engulfed by one's environment. Margit, played by Björk, possesses a sublime sensitivity to her environment that allows her to receive messages from her mother, who was murdered for their shared inheritance of witchcraft. Hirano captures the relationship between the transcendental awe that is felt as supernatural and the private feelings of being immersed in that experience, creating a musical dialogue between the self and what lies beyond. In the final sentences of her liner notes describing the film's philosophical and feminist throughlines, Anna Bogutskaya says, "what we call Margit's witchcraft is maybe just her willingness to listen." This is the magic of music, and Hirano composes with an alchemist's pen. Just as Keene seems to break down barriers between binary poles, Hirano uses both electronic and acoustic means to communicate the film's emotive cues, uniting approaches she has explored under her own name and the alias MimiCof. There is an understanding that stillness can be understood as peaceful or foreboding, that dissonance and consonance are contextual, that efforts to protect one's own kin can lead to tragic ends. At the film's end the audience sees Margit enthralled with birdsong, understanding it as something deeper, a connection to those she has lost. Through sound, listeners understand what lies beyond sight, beyond convention, and with this new soundtrack they hear the story anew.
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LP
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VIERNULV 019LP
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$31.50
PREORDER
RELEASE DATE: 10/2/2026
LP version. While composing the music for The Juniper Tree, Midori Hirano drew on her own memories of touring Iceland, which included a stop at a waterfall featured in the film and rendered in sound on "Mother's Path." Folktales, like the origins of The Juniper Tree, are often attempts to contend with humans' place in the natural world, with all its mysteries and intricacies, and both the film and Hirano's soundtrack draw their sense of breathless wonder in part from the sensation of being engulfed by one's environment. Margit, played by Björk, possesses a sublime sensitivity to her environment that allows her to receive messages from her mother, who was murdered for their shared inheritance of witchcraft. Hirano captures the relationship between the transcendental awe that is felt as supernatural and the private feelings of being immersed in that experience, creating a musical dialogue between the self and what lies beyond. In the final sentences of her liner notes describing the film's philosophical and feminist throughlines, Anna Bogutskaya says, "what we call Margit's witchcraft is maybe just her willingness to listen." This is the magic of music, and Hirano composes with an alchemist's pen. Just as Keene seems to break down barriers between binary poles, Hirano uses both electronic and acoustic means to communicate the film's emotive cues, uniting approaches she has explored under her own name and the alias MimiCof. There is an understanding that stillness can be understood as peaceful or foreboding, that dissonance and consonance are contextual, that efforts to protect one's own kin can lead to tragic ends. At the film's end the audience sees Margit enthralled with birdsong, understanding it as something deeper, a connection to those she has lost. Through sound, listeners understand what lies beyond sight, beyond convention, and with this new soundtrack they hear the story anew.
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LP
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VIERNULV 010LP
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Gatefold, LP, black vinyl. A politically charged record questioning the status quo, État Coupable merges stories of war-torn Iraq with disruptive synth sequences and heavy Arabic percussion. Belgian-Iraqi band Use Knife present their new album État Coupable. The record revolves around the raw synergy between Iraqi vocalist and percussionist Saif Al-Qaissy, who fled war-torn Iraq, and the analogue synths and instrumental bursts of Belgian musicians Kwinten Mordijck and Stef Heeren. Following their acclaimed debut album The Shedding of Skin (2022), the formation has deepened their relationship through numerous live jams, intense touring and story sharing, pushing both their skills and the boundaries of the project. For its successor, État Coupable, this growth has been enriched by various collaborations, including one with Lebanese-Canadian producer Radwan Ghazi Moumneh (Jerusalem in My Heart). The first single, "Freedom, Asshole," features live drums by Spooky-J from Nihiloxica. With lead vocalist Saif singing, "I envy you because you can close your eyes, you can choose," the track addresses those who need to be addressed in the Western world, resulting in a gut-wrenching piece of raw electronica that delves into the very definition of freedom.
"Music For A New Society" --The Quietus
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CD
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VNVR 008CD
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Electroacoustic composer claire rousay (US) presents her new 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. Based on the lurid folk tale of Elisabeth Bathory (1560-1614), the trippy Slovak animated film The Bloody Lady follows the story of a Slovak noblewoman. Accused of murdering hundreds of girls and women. Her murderous motive: hoping to remain eternally young, she allegedly bathed in their blood. Central to both the film and rousay's score is the heart and its rhythmic pulse. Much like the story itself, her compositions are whimsical, with subtle hints of looming menace. As this underlying tension lingers in the background, the score incorporates everyday sounds and nature recordings to evoke an ethereal yet unsettling atmosphere. To create these emotive textures, rousay primarily relied on a blend of granular VST synths, piano, pitched-down violin, and an array of field recordings. In a twist of serendipity claire mentions she had been traveling around Hungary and had actually visited the castle of Elisabeth Bathory a full year before being commissioned to work on the new score. She had made some field recordings there, in both the forests and around the site and randomly recorded the ambiance in a local bar. All these sounds have found their way as foliage into the live soundtrack. The Bloody Lady marks an unexpected new chapter in Rousay's blossoming career, demonstrating her ability to apply her delicate melodic sensibility and meticulous attention to detail to the medium of film. This score becomes a deeply personal and heartfelt project, casting new light on Viktor Kubal's more-than-40-year-old magnum opus and helping it regain the recognition it deserves.
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VIERNULV 008LP
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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. This album features the reimagined score Rousay 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 released 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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LP
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VIERNULV 005LP
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Miaux presents new LP Never Coming Back on Viernulvier Records. The Belgian composer's LP is inspired by the new film score she wrote for 1962 cult film Carnival Of Souls. 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.
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2LP
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VIERNULV 003LP
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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 and 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. Through off-world frequencies and raw primal sounds, Quadric Surfaces presents a collection of exploratory left-field dance music. 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 and psychedelic (dance) music. Artwork by Gabriela González.
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LP
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VIERNULV 004LP
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Drummer-producer Nah returns with new album Totally Recalled. Totally Recalled is a ceremonial sonic rumination on the beautiful absurdity of modern life and its primitive impulses. Across ten tracks of relentlessly pulsing yet highly reflective works, Totally Recalled continues Nah's never-ending exploration of the balance between acoustic and synthetic percussion and the noisy overlapping genre intersections they pass through. It pulls upon years of Nah's experiences in dark clubs and grimy basements across the globe to present the listener with an audio snapshot of the genre-less alternate reality that Nah continues to traverse. Totally Recalled is a listening experience that serves well at home, submerged in headphones, but ultimately meant to be witnessed live in all its decibel meter breaking glory. To enhance Totally Recalled on a visual level, Nah has developed a new live AV show of the same title.
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