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Jozef van Wissem
Nosferatu - The Call Of The Deathbird

wave/dark/gothic/ postrock
Incunabulum, 2022

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CD:17,56€
Out of stock
availability: up to a month ?
cat. no: INC029
EAN: 0734077085652
format : CD
number of discs : 1
packaging : ecopack
vinyl:32,28€
Out of stock
availability: up to a month ?
cat. no: INC030
EAN: 0734077085645
colour : black
format : 12"LP
number of discs : 1
packaging : singlefold
 


no. title play mp3
1 Act 1 5:54
2 Act 2 3:58
3 Act 3 4:34
4 Act 4 5:55
5 Intro 3:06
6 Act 5 17:54


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https://youtu.be/Y0qm7R2hRfw
https://youtu.be/feu6Mf1AQ-Y
https://youtu.be/DV9_z1z0EbU

Jozef van Wissem, holenderski kompozytor, lutnista i gitarzysta prezentuje swój najnowszy projekt na gitarę elektryczną i lutnię: muzykę do klasycznego horroru Nosferatu – symfonia grozy (1922) F. W. Murnaua. Wissem znany jest ze współpracy z Jimem Jarmuschem, z którym nagrał cztery albumy, a w 2013 roku otrzymał Cannes Soundtrack Award za ścieżkę dźwiękową do filmu Tylko kochankowie przeżyją. W swoich kompozycjach kreuje ponadczasowy, mroczny i intensywny wszechświat.

Jozef Van Wissem- Lute, Electronics, Beats, Electric Guitar, Found Bird Sounds.
In 2013 van Wissem won the Cannes Soundtrack Award at the Cannes Film Festival for Jim Jarmusch's "Only Lovers Left Alive ".
In December 2017 Jozef van Wissem was invited to perform the madrigal depicted in Caravaggio's painting The Lute Player (1596) at the Hermitage museum of Saint Petersburg.
In 2022 three of his works were used for in the soundtrack and trailer of Irma Vep (HBO).

His completely unique musical world can be easily verified by his collaborations, especially that these relationships are also strengthening his own musical character.
He worked together with Zola Jesus, Tilda Swinton, Jarboe as well as with his long-time collaborative partner, also his friend, Jim Jarmusch.

"La Cinémathèque Française in Paris commissioned me to write and perform the score at the presentation of the restored version of Nosferatu. I was a bit overwhelmed by its success. It was sold out. I wasn't going to repeat it. But people kept asking. In the beginning the soundtrack was more improvised and reactive to the images but after a few times the audience kind of showed me the way. To start with a few notes and building the score slowly to a dense slow metal ending. I found an old 7-inch single with recordings of extinct birds on a market, I electronically processed and added them to the score . " Manipulating the sounds of electric guitar in
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