Jim Jarmusch teams up with experimental lute… | Little White Lies

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Jim Jar­musch teams up with exper­i­men­tal lute play­er for new album

11 Jan 2019

Words by Charles Bramesco

Two musicians, one playing an electric guitar and the other a lute, set against a dark, leafy background.
Two musicians, one playing an electric guitar and the other a lute, set against a dark, leafy background.
An Attempt to Draw Aside the Veil’ is out 8 Feb­ru­ary via Sacred Bones.

Jim Jar­musch super­fans have their fin­gers tight­ly crossed that 2019 will be the year we final­ly get eye­balls on the zom­bie movie he’s report­ed­ly been work­ing on with Bill Mur­ray and Sele­na Gomez. A Cannes pre­mière may be in the off­ing, but before then you’ll be able to get your fix of the sin­gu­lar artist’s out­put through a dif­fer­ent medium.

Jar­musch has announced a col­lab­o­ra­tive album with lute play­er Jozef van Wis­sem, enti­tled An Attempt to Draw Aside the Veil’, due for release 8 Feb­ru­ary. While the pair have main­tained an active part­ner­ship since a chance encounter on the street in 2006, each con­tribut­ing to the other’s out­put (van Wissem’s haunt­ing tones can be heard on the sound­track to Only Lovers Left Alive), this marks their sec­ond prop­er joint effort after 2012’s The Mys­tery of Heaven’.

Lead sin­gle Con­cern­ing the White Horse’ has already been released, and you can lis­ten to the track below in full. It’s a cacoph­o­ny of creaks and oth­er ambi­ent wails that con­jure images of night­time lon­ers and back alleys, though the press notes clar­i­fy that Jar­musch and van Wis­sem built the album around the writ­ings of William Blake, Emanuel Swe­den­borg and Hele­na Blavatsky. It wouldn’t be a Jar­musch pro­duc­tion with­out an obscure allu­sion or two.

The record is being released via indie imprint Sacred Bones, which has carved out a niche for itself as the pre­mier plat­form for film­mak­ers’ musi­cal side hus­tles. Jar­musch joins the ranks of David Lynch and John Car­pen­ter, right at home among film­mak­ers as adroit with aur­al creep-outs as visual.

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