Lorenzo Abattoir
Hermann Kopp

L.

H.K.

Psicopompo is the Italian word for Psychopomp, a guide who accompanies the dying to the afterworld such as, for example,  Azrael the archangel of death, or Freya who carries deceased warriors from the battlefield to Valhalla, or Hermes, the Greek messenger between the heaven and the underworld. And in Arnold Böcklin’s painting “Isle of the Dead” a white-clothed ferryman guides a boat with a coffin to a dark island with tall cypress trees surrounded by rocks.
 
Around the year 1933, Swiss psychiatrist Carl Gustav Jung was working on the relationship between alchemy and christianity when one day, by the shore of a lake, he observed a snake that was choking when swallowing a fish so that both animals died. It struck him to see before his eyes how the encounter of christianity, symbolized by the fish, and alchemy, symbolized by the snake, was fatal to each other since their respective systems are incompatible.
 
On another occasion he had a female patient, very rational and inaccessible. One day she told him about a dream she had had the night before in which someone gave her a piece of jewelry in the form of a golden scarab.  While she was still telling that dream, Jung heard something tapping against the window, a flying insect trying to get into the room. He opened the window and caught the insect – a scarabaeid beetle, rather uncommon for the season or the region.
 
There are events like that which are unique and not reproducible. They are simultaneous but cannot be explained by conventional causality. They are like black holes in the space-time construction. Synchronicity is dealing with such events.
 
I never have met Lorenzo Abattoir and possibly I never will. Our collaboration came about when he experienced a temporally coincident event with my music and the idea of synchronicity developed by Jung. In no more than a week we recorded several eight-minute-long improvisations – one of us recording the "rhythmic" part, the other one the “melodic” part, without knowing what would be the final result. The mixing was realized with hardly any effects or post-production, two tracks him, two tracks me. The resulting music has little relation with what we do normally or are known for. We hesitated for a while, but after the second track we decided that a publication might be justified. I hope that you, the listener, will agree.