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NEW LUTE MUSIC FOR FILM

by JOZEF VAN WISSEM

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TIASO
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TIASO his music praises the darkest part of me very well Favorite track: ONLY LOVERS LEFT ALIVE.
Nya
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Nya Pure eloquence. It can almost seem like each note has its own little story to tell, which flows perfectly into the next. Breath-takingly beautiful. Favorite track: ONLY LOVERS LEFT ALIVE.
spakatuttorecords
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spakatuttorecords L'album idéal pour déconnecter.
Le luth est un instrument magique.
nitsch
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nitsch I saw him live a week ago and it was amazing how the audience became really quiet when he started playing (everyone was sitting on the ground) and then they bursted with applause when he finished. Favorite track: OUR HEARTS CONDEMN US.
Mister Meows
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Mister Meows Not an artist I would have expected to love, but here we are. Van Wissem has this very compelling singing style and voice: a slightly smoky tone, paired with a firm and assertive delivery. His lute playing is trance inducing, mixing a bit of joy with general melancholy. It's the sound of a sundown, of an inevitable, warm slide into night. Favorite track: SOLA GRATIA/WHERE YOU LIVED AND WHAT YOU LIVED FOR/APOLOGY/RUINS.
Bageensky
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Bageensky Absolutely phenomenal. I’m also surprised how much I love this album. I got to know Jozef through Only Lovers Left Alive OST. This has a perfect blend of what I know and what I don’t. And what a feast it is! Ordered physical LP, can’t wait! Favorite track: ONCE MORE WITH FEELING/THE MYSTERY OF HEAVEN.
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DETACHMENT 04:35
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about

recorded live in prague in february 2017, includes pieces for film like 'only lovers left alive’, sola gratia and 'our hearts condemn us', as well as songs like 'detachment' ' the day is coming' and ' love destroys all evil". an incunabulum release.

credits

released May 20, 2017

jozef van wisem- lute, voice.

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about

jozefvanwissem Rotterdam, Netherlands

Van Wissem is ‘both an avant-garde composer and a baroque lutenist, and thus no stranger to dichotomy,’ (New York Times). He has been ‘pushing the lute’s agenda out of the academy and into more accessible circles’ (Pitchfork).

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