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INC 039CD
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"Composer and lute player Jozef Van Wissem has created, in my opinion, the most beautiful film music of the year for Un Prince. Suites of princely pieces allow the film to be transported into a fantastic dimension where power and magic unfold." --Chaosreign
"Un Prince features a striking soundtrack -- part Baroque courtly dance, part Doors-like instrumental by Dutch lutenist Jozef van Wissem" --Variety/ Screen Daily
"The Dutch composer illustrates the initiatory story of the film (a young man discovers gardening and unusual sexual practices) and the scenes of a pictorial nature, in fixed shots, with captivating notes of the order of the procession, with a certain devoutness, like a ceremony." --Cinezik
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INC 038LP
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LP version. "Composer and lute player Jozef Van Wissem has created, in my opinion, the most beautiful film music of the year for Un Prince. Suites of princely pieces allow the film to be transported into a fantastic dimension where power and magic unfold." --Chaosreign
"Un Prince features a striking soundtrack -- part Baroque courtly dance, part Doors-like instrumental by Dutch lutenist Jozef van Wissem" --Variety/ Screen Daily
"The Dutch composer illustrates the initiatory story of the film (a young man discovers gardening and unusual sexual practices) and the scenes of a pictorial nature, in fixed shots, with captivating notes of the order of the procession, with a certain devoutness, like a ceremony." --Cinezik
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INC 041CD
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Acclaimed director and musician Jim Jarmusch and experimental lute player and composer Jozef Van Wissem met nearly 20 years ago, forming a close bond after they ran into each other on the streets of New York City. In 2011, they began performing and producing records together. This release is the follow up to American Landscapes entitled The Day The Angels Cried. The duo weaves an intricate lute and guitar string tapestry of droning, minimal free-folk compositions destined to captivate listeners with their dark hypnosis. This time vocals and electronics are added as well. Van Wissem's work comes from a tradition of avant-garde minimalism and lends itself well to the director's stark cinematic works. Jarmusch has played guitar in bands on and off since the late '70s. Van Wissem's compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called "New Music for Early Instruments." The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem's compositions, and sees himself as someone filling in the background to Jozef 's foreground, like the "scenic" on a film shoot, the one who paints the backdrops. "The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury." According to Van Wissem: "We started with layers of instrumental parts. Jim recorded an otherworldly Passerelle bridge guitar part to which we added vocals. This became the title track 'The Day The Angels Cried.' The lyrics for this song came to me during a vision I had in a dream. It was much like a vision Swedenborg writes about. In it he converses with angels. In my vision the angel looked down from the heavens upon the earth engulfed in flames. Recent events in Los Angeles and other parts of the world, have led me to believe that this dream was a premonition.'"
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INC 040LP
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LP version. Acclaimed director and musician Jim Jarmusch and experimental lute player and composer Jozef Van Wissem met nearly 20 years ago, forming a close bond after they ran into each other on the streets of New York City. In 2011, they began performing and producing records together. This release is the follow up to American Landscapes entitled The Day The Angels Cried. The duo weaves an intricate lute and guitar string tapestry of droning, minimal free-folk compositions destined to captivate listeners with their dark hypnosis. This time vocals and electronics are added as well. Van Wissem's work comes from a tradition of avant-garde minimalism and lends itself well to the director's stark cinematic works. Jarmusch has played guitar in bands on and off since the late '70s. Van Wissem's compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called "New Music for Early Instruments." The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem's compositions, and sees himself as someone filling in the background to Jozef 's foreground, like the "scenic" on a film shoot, the one who paints the backdrops. "The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury." According to Van Wissem: "We started with layers of instrumental parts. Jim recorded an otherworldly Passerelle bridge guitar part to which we added vocals. This became the title track 'The Day The Angels Cried.' The lyrics for this song came to me during a vision I had in a dream. It was much like a vision Swedenborg writes about. In it he converses with angels. In my vision the angel looked down from the heavens upon the earth engulfed in flames. Recent events in Los Angeles and other parts of the world, have led me to believe that this dream was a premonition.'"
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INC 034CD
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Dutch lute player and composer Jozef Van Wissem presents his album The Night Dwells in the Day. The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem's sprawling back catalogue and up to his latest album, The Night Dwells in the Day. Over the years he's released countless solo albums stretching into double figures, there's been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch's Only Lovers Left Alive to Pierre Creton's 2023 film A Prince. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. "The Call of the Deathbird" was the first song he wrote from the album and is the first to be shared. One of the relatively rare tracks that Van Wissem sings on -- along with some stirring and enveloping guest vocals from Hilary Woods -- his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album.
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INC 033LP
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LP version. Dutch lute player and composer Jozef Van Wissem presents his album The Night Dwells in the Day. The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem's sprawling back catalogue and up to his latest album, The Night Dwells in the Day. Over the years he's released countless solo albums stretching into double figures, there's been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch's Only Lovers Left Alive to Pierre Creton's 2023 film A Prince. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. "The Call of the Deathbird" was the first song he wrote from the album and is the first to be shared. One of the relatively rare tracks that Van Wissem sings on -- along with some stirring and enveloping guest vocals from Hilary Woods -- his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album.
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INC 031CD
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The first two pieces "Cleveland "and "Akron" were recorded in 2022. These dark, long form, hypnotic drone pieces reflect the current state of America. The third piece "American Landscapes" was commissioned and performed by Stephen Petronio Dance Company in New York. According to the New York Times "the piece is a spare, almost soothing composition by Jozef Van Wissem and Jim Jarmusch -- it's a combination of lute, acoustic guitar and electric guitar. Jim Jarmusch and Jozef Van Wissem met on the streets of New York in 2006. They shared a lot of interest and background so a collaboration and a friendship was born. Jarmusch was looking to have Van Wissem compose a score for a film he had been trying to make for years, what he described as a "crypto-vampire film" about two lovers, outsider types who have been in love for hundreds of years. Van Wissem's work comes from a tradition of avant-garde minimalism and lends itself well to the director's stark cinematic works. Jarmusch has played guitar in bands on and off since the late '70s. Van Wissem's compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called 'New Music for Early Instruments.' The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem's compositions, and sees himself as someone filling in the background to Jozef 's foreground, like the 'scenic' on a film shoot, the one who paints the backdrops. The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury." Jozef Van Wissem - lutes, condensator drones, electronics; Jim Jarmusch - acoustic and electric guitars. All compositions by Jozef Van Wissem and Jim Jarmusch. Produced, mixed by JVW. Front cover by Robert Longo.
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INC 032LP
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LP version. The first two pieces "Cleveland "and "Akron" were recorded in 2022. These dark, long form, hypnotic drone pieces reflect the current state of America. The third piece "American Landscapes" was commissioned and performed by Stephen Petronio Dance Company in New York. According to the New York Times "the piece is a spare, almost soothing composition by Jozef Van Wissem and Jim Jarmusch -- it's a combination of lute, acoustic guitar and electric guitar. Jim Jarmusch and Jozef Van Wissem met on the streets of New York in 2006. They shared a lot of interest and background so a collaboration and a friendship was born. Jarmusch was looking to have Van Wissem compose a score for a film he had been trying to make for years, what he described as a "crypto-vampire film" about two lovers, outsider types who have been in love for hundreds of years. Van Wissem's work comes from a tradition of avant-garde minimalism and lends itself well to the director's stark cinematic works. Jarmusch has played guitar in bands on and off since the late '70s. Van Wissem's compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called 'New Music for Early Instruments.' The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem's compositions, and sees himself as someone filling in the background to Jozef 's foreground, like the 'scenic' on a film shoot, the one who paints the backdrops. The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury." Jozef Van Wissem - lutes, condensator drones, electronics; Jim Jarmusch - acoustic and electric guitars. All compositions by Jozef Van Wissem and Jim Jarmusch. Produced, mixed by JVW. Front cover by Robert Longo.
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