"It's like a part of my body," says Dutch lute player and composer Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. "The complexity of it is what keeps me going because you can always find something new." 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. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him "probably the most famous lutenist in the world". 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. One of the relatively rare tracks that Van Wissem sings on Over a hypnotic yet beautifully fluid and plucked melody - along with some stirring and enveloping guest vocals from Hilary Woods (who will tour with Van Wissem later this year - details below) - 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. "That song became something completely different after we made a video for it," says Van Wissem, who shot a beautiful 10 minute short in Warsaw's Soviet Mausoleum where the ashes of 20,000 Soviet soldiers lie. "Every time I leave Warsaw, there is this beautiful open space that I see and I wanted to make a video there," he says. "It has this aesthetic that is symmetric, eerie and militant. But it had nothing to do with the war, this was before Ukraine. In our film the silence of the lute replaces the violent rifle." While one song written during, and about, the pandemic came to be the album's centrepiece, the rest of the album grapples with the world as it moved on and all the dualism and dichotomies that followed. "It has to do with darkness and light," Van Wissem says of the album. "The title can mean different things to people but sometimes people say that if I play a happy piece of music that it still sounds sad. So this is why I came up with that title."