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CD
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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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LP
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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 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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CD
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INC 016CD
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New material from the duo and new solo lute pieces. Acclaimed film director Jim Jarmusch plays electric and acoustic guitar and does tape on one piece. CD has duo bonus track not on LP: "Hymn to Earth." Composer/lutenist Jozef Van Wissem on 13 course baroque lute and 12-string electric guitar, Jim Jarmusch plays electric and acoustic guitars, and tape loops. Recorded in New York City.
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INC 014LP
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LP version. New material from the duo and new solo lute pieces. Acclaimed film director Jim Jarmusch plays electric and acoustic guitar and does tape on one piece. Composer/lutenist Jozef Van Wissem on 13 course baroque lute and 12-string electric guitar, Jim Jarmusch plays electric and acoustic guitars, and tape loops. Recorded in New York City.
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IMPREC 348LP
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2014 repress. LP version. "Concerning The Entrance Into Eternity is an extraordinary new collaboration between Dutch lutenist Jozef Van Wissem and American filmmaker and guitarist Jim Jarmusch. Jarmusch's previous collaborations with Wissem have not prepared the eager listener for the expressivity and emotional depth of his playing on these duets. Respectful of one another's space the pair weave layers of melody and waves of feedback while acoustic guitar and lute wrap together with a subtle depth exemplifying an austere understanding and compatibility. Jarmusch's guitar work is metaphysical, at times sounding like a hurdy gurdy and at other time sounding as if it is responding to the calls of the lute. The final piece, 'He Is Hanging By His Shiny Arms, His Heart An Open Wound WIth Love,' finds Jarmusch accompanying a solo lute composition with a reading from St. John Of The Cross. With three titles named after Christian mystic Emanuel Swedenborg's work, this record is extraordinary, new and arcane at the same time, modern but timeless."
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