After the release of the new full-length album, Nèktar (April 15th via Toten Schwan Records and Stoned to Death Records), Julinko unveils the new video of the song “Deadly Romance” .
“The first inspiration for the song and its lyrics came during a road trip by car,” Julinko says. “It was actually not far from my home, in the north-east of Italy. I had just woke up from a short yet deep sleep and watching through the window screen I got captured by a cluster of old depilated houses. Ornated by plants and ivy, abandoned yet radiant in the golden amaranthine light of that early autumn sunset, they were surrounded by a thin glittering fog.”
“It seemed as if that portion of land was somehow suspended between the apparent immobility of its inanimate present and the vivacity of the life it had hosted, in a past which was unknown yet somehow familiar to me. Entwined between the half-disappeared frescoes and the sings of decadence and forgiveness of the walls and structures, I had an hint of the stories that had inhabited those places. More importantly, I had a fleeting sharp image of the ghosts of the people who once lived there: apparitions reunited in a theatrical dance around that space … if I could paint a canvas representing this vision, the title would have been ‘Deadly Romance’, ” she adds.
“I wanted a dreamer to be awake and be the point of view to join what is unconscious and otherworldly with what is present, here and now, in the experience of the body, ” she continues. “That’s how during my black and white stroll I meet four different characters whose faces I try to recognise but cannot. In dreams you often meet figures out of place, sometimes you cannot remember their faces, sometimes they are memorable for just one specific feature, in fact what is important is not who they are but for what they stand for : a Priestess, a Broken Man, a Mother, a Prophet. They are all engaged in accomplishing their own path and impassible to my presence. If I am the dreamer, they are the dream itself. The entering at the Hermitage of San Girolamo marks a transition between these two dimensions. Here all the characters are reunited, their faces are all visible and their bodies join the same space and the same movements, evoking that spectral dance I once had imagined, an image of release and letting go.”