SUMMER SNOWFLAKES: variations on a theme. Intended to be released at the first snow fall, but it never came... So I kept recording.

INSTRUMENTS used: Electric Guitar, two steel 6-stringed guitars, 12s guitar, classical guitar, two hardware keyboards (rendering the pianos, organs, bass guitar, chimes, bells, flutes, strings), pedal effects.

The music grew like a fractal in all directions and became quite vast in scope: should I have split it into shorter tracks? Many would say yes, but I didn't fancy that and instead went for the ”LP option"; an instrumental, meditative journey, inspired by the genre invented by Mike Oldfield in the 70s.

When I first heard his work, many years ago, I didn't first get it, but I was intrigued. "What is the purpose?" was my early reaction. But I couldn't shake it off and became hooked to the complexity of his instrumental music, and how it seemed to constantly mutate into new sections. I kept listening, and gradually discovered the many hidden secrets. And it led me to become very interested in classical music.

SUMMER SNOWFLAKES is made in this tradition. Not explicitly trying to mimic Mr. Oldfield, but admittedly clearly influenced by his method. And why not? Was it wrong that Brahms wrote symphonies just because Beethoven already had done nine legendary ones? Would the world have been a better place if Shostakovich had stayed away from writing Preludes and Fugues for the piano? Should no pop songs have been allowed after Beatles? I say, let us be shamelessly inspired by the gigants and make some efforts to create something! Throw an egg if you must, but I think any sincere attempt to compose is welcome.

When I decided to go for a full length track, my vision was (somewhat childishly) the thought of the younger myself; the days when I was a die-hard Oldfield fan and had stumbled upon a new release: always a rare event, an instant buy, running home, headphones on, expectations high, launching it: the first sacred discoveries ... My track may not live up to this, but is a tribute to those days and that feel.

The recording was quite an undertaking and I didn't want to let myself down. I worked on it since December 2018, and was occasionally quite frustrated about it. I avoided midi, and tried to hand-play it all (for the fun of it) - often leaving me in big trouble. I admit there are some sun spots due to this, but I consider them as my finger prints and evidence that a human did this, not a machine. .

Art cover: by DS 2021, reflecting the heavy reliance and overlaying of pianos and organs, and the combinational nature of the music.

Special Thanks to Mark Hermse, Mike Hilton and Wojciech Langner for support and inspiring discussions!

SUMMER SNOWFLAKES

CREATURES OF THE RAIN FOREST. An experimental sketch, no extra charge ;) 

Play it infinite many times at the fitness center or just skip to the next track in your flow. Forced on tape using a bunch of instruments. 

Ideas that I (for a while) considered for some longer compositions, but I decided to go for something else ...  seeking a new sound, a new direction ... 

/DS 29th Sept 2021, updated 18th July 2022.

CREATURES OF THE RAIN FOREST

Out of the ruins of another project rises a new track ... < R.I.P. "Conqueror" >. Variations on a theme, searching for gold, an assault on the ears.

Written and recorded by DS, because nobody stopped him. Dedicated to warriors of instrumental music.

OUTPOST

Captured on tape by DS during 2021/2022 under unclear circumstances. Shared with you via SoundCloud, in the form of a wav file. Downloadable for further analysis. Constructed via the usage of electric guitars, hardware keyboards and drum loops.

Science Fiction Soundtrack. (The 2nd part is still encrypted).  //DS 28/4/2022

THE DISCLOSURE

PEACE GUITARS; composed mostly outdoors during the 2021/2022 summers. The music was inspired by grand nature, desolated places, silence … I often brought the dog during these sessions and she enjoyed lying beside me, watching birds or boats passing by ... Hopefully the music will echo such moments ... 

I did struggle with the composition, and it took a lot of effort to complete the circle. It is an imperfect but very personal piece of music. Thx for listening. 

And let’s hope for a Peaceful future, soon…

DS 23th September 2022 (Project initiated 17th Sept 2021).

PEACE GUITARS

This is a short piece that arose while working on a longer composition (still doing that, Oct 2014). I was also trying to learn some new software and possibilities, and one thing gave another ... suddenly this miniature started to take on its own life, without not  quite knowing what to make of it ... (integrating it into the long composition, or making an independent piece?)

Then, when the guitar riffs towards the end were found, I had to keep recording ... 

Many thanks for all those taking time to listen!

 //DS, May 2014

Cambrian Explosion

Inspired by Amarok! Global Presence! Riffs of the 70s!

This recording is the result of my most ’guitar-intensive’ period ever. It came as a reaction to what came before it, a period where I focused very much on the classical guitar but a moment came when I was fed up with polishing small details in my repetoar. One day, I felt an incredible hunger for riffs, for steel string guitars, and for going back to (progressive) rock music! I always loved the rock of the 70s, considering it as ’Mount Everest of the music history’ (classical music excluded here). An era where everyone was incredibly ambitious, when everything had to be handplayed, and when the broader audience had some considerable attention span ;)

I started to explore some riffs on my CORT steel string guitar, which had been collecting dust in a corner for a long time. It soon gave me the opening riffs and some additional riffs (e.g., around 5 minutes into the track). I quickly worked up the bulk of the track and got maybe half of the track done in just a few weeks (not counting later polishing, when I re-recorded some bits to get the sound I wanted). I got a vision of the completed track, a long progressive one - yes, for sure inspired by Oldfield and YES (favorites from this era!), but it was easier said than done to complete the track. Considerable work remained, as I was about to learn….

It was incredibly hard to finalize the composition and I almost gave up on it. I arrived at a moment where I seemed to have promised too much and where the Ear demanded some serious further action; many permutations tested, but nothing seemed to work. In the end, due to all this, I lost some control of the files (e.g., a key solo guitar is badly panned but I seem to be unable to find the raw data needed to fix it).

Extremely much work went into the last months, on a mission to crack it! Late nights, tinnitus, frustration! :) Finally I think I found what I needed (but who am I to know).. I had to accept some slightly less than perfect audio at some places: does it matter? Not to me, but the listener is the jury. I decided to go for attitude and energy rather than anything else… I hope you will enjoy what I discovered!

I doubt that cold-blooded perfect ARTIFICIAL INTELLIGENCE ever will replicate what a desperate Dave J. Svensson sounds like, late at nights with all controls turned to 11 on a scale from 0 to 10 …. ;)

The SHAMBOLIC GUITARS were:
- two 6s steel: CORT (rythms!) and OVATION (main recurrent theme!)
- a 12s FENDER (colour!)
- three electric guitars: IBANEZ (now sold), PRS & SCHECTER (dirt!)
- two classical guitars: CORT, KREMONA (clarity!)
Plus, a ROLAND keyboard (for some pads), and various hardware effect boxes.

Artcover by DS, featuring the guitars listed above.

//Dave, 6th October 2023

SHAMBOLIC GUITARS

*Some deny it, but the consensus is strong. As more and more data is accumulated, the cluster grows ever stronger. Will we act upon the warnings, break the trend?* 

Composed and recorded while working on another (longer) instrumental composition...  

Instruments: 6- and 12-string acoustic guitars, electric guitars, keyboards, midi-handplayed bass and percussion, + drum loops. 

Both ClusterOfWarnings and CambrianExplosion have been derived from themes also featured in my 25 min long multi-instrumental: 
https://soundcloud.com/davidjsvensson/long-instrumental-part1draft-ds2015
https://soundcloud.com/davidjsvensson/long-instrumental-part2draft-ds2015 

To re-use ideas, modify them, and let them be the basis for new compositions has a long tradition; already Vivaldi and Bach did this (all the time). From a theoretical standpoint, it interests me; how flexible and potent is a single idea ... 

Cluster of Warnings is possibly the piece I am most satisfied with, so far. 

I appreciate your time here, thanks in advance for any likes/repost/comments!

//DS

ps. Artwork by DS 2014.

THE CLUSTER OF WARNINGS

Excerpt from LONG INSTRUMENTAL part 1. 

Instruments: acoustic steel-string guitars, electrical guitar, keyboards, midi-played bass and drums, and drum-loops.

For further details, see: https://soundcloud.com/davidjsvensson/long-instrumental-part1draft-ds2015
https://soundcloud.com/davidjsvensson/long-instrumental-part2draft-ds2015


MYSTERY

STRUCTURES.

A new series of pieces based on the classical guitar (but recorded plugged-in). Composed and played by DS 2015.

It is a work of variations, with some core elements re-appearing multiple times (but evolved, and differently combined). Meditative, explorative, and slightly abstract. Created through a gradual weaving of different themes, growing larger structures ... 

It is likely that there ultimately will be a cycle of five, six, pieces of this kind. 

DS //May 2015





Guitar Structures No. 1 - By David J. Svensson

MUSIC WRITTEN BY TOLUBAI.
KEYBOARDS: TOLUBAI.
GUITARS: DAVID SVENSSON.

For a long time now, I have very much enjoyed the music by Tolubai. (https://soundcloud.com/tolubai).

His compositions are always interesting, emotional, creatively arranged, finely balanced, and full of substantial ideas and material ... 

One of my personal favorites was always the tasteful, contemplative, and melancholic 'Memories', originally posted several years ago; one of Tom's true masterpieces, finely played by himself, very subtile, movingly ... Listen careful to the original, how inspired it is ... 

One day, while listening to it again, I started to play along, and got the idea of record some of it. More as a tribute to this already perfect piece, not to improve on it; rather, respectfully celebrate it ... 

One thing lead to another, Tom and I collaborating ... 

And, I am proud to announce: here it is. (Also cloned at Tom's account: https://soundcloud.com/tolubai/memories-tolubai-feat-david-svensson)

I hope you like this joint effort (and, if not, there is always the original!).


Best regards //David, 11 Sept 2015

ps. Link to the original: https://soundcloud.com/tolubai/memories




Memories - Tolubai feat. David Svensson

Probing the landing site in wonderful total silence.
Recieving data, odd features visible.

____________________________________________________

WRITTEN 2016 BY DS IN COLLABORATION WITH TOLUBAI 
Keyboards, Electric Guitars, Drums Loops.
Further sections will follow.

(Link to TOLUBAI's excellent tracks: https://soundcloud.com/tolubai.)



SILENCE

Please Play This In The Fitness Centre - Always

Composed & Played by DS; Guitars, Keyboards, Organ + DrumLoops.

Actually recorded in 2014, and for a while I was planning to expand it to something longer. But other pieces took priority, and I forgot about it. During the last months I have experienced some computer instability, lost functionality and files - and, finally, my main machine chrashed seriously early September. I don't think I can ever bring back the raw files to life again, but the mp3 survived. Actually, it was a private draft at SC, and I decided to let it live as a public track.

Very few will continue to listen after the disastrous dissonances taking place early on - rejected by most, and why not? We can't all have the same taste! 

DS //Sept 2016



COUNTERFACTUALS: instrumental sketch by DS

Mike Hilton ~ Fender Stratocaster. 
David Svensson ~ Acoustic (classical & 12-string) Guitars, Bass- and Synth-guitar.
Arr by David Svensson. Mixed and produced at PuppyWolf Studios.
Cover-art design, Mike Hilton.

******************
Text by DS below:

Perhaps one of the most melancholic and beutiful pieces I have ever heard, the original Let There Be Light, the opening of Oldfield's epic 'The Songs Of Distant Earth'... I always loved it, despite having listened to it many many times..

The original can of course not be improved upon, with its perfect mix of magnificently played electric guitars and a very delicate synth arr. Please listen to it.

Instead, consider this an improvised guitar-version, perhaps a slightly more 'human' version, if that is the appropriate term (keeping any little minor inconsistency as if a true live version); a celebration of a wonderful original.

I am very pleased indeed that Mike 'Puppywolf' Hilton joined me in this experiment - his trademark crystal-clear electric guitar voice is by now well-known to many of us, always played with enormous care and feeling, every little note... Please take a look at @puppywolf for many excellent tracks.

Although I never met Mike H. in the real life (the entire planet is in between us!), I nevertheless surely count him as a good friend. And why not, what really counts (as I see it) is how much fun, inspiration and mutual understanding there is on various topics dear to us. Lots of very rewarding discussions over the years now, on music and life in general ...

Now, imagine one day, after having travelled around the world, finally ending up in PuppyWolf's garden, a warm evening, drinking something cool, "hey, is that your guitar?", tuning ... Opening up with the Oldfield chords, and Puppywolf soon follows ... I would imagine, this is what it could sound like :)

I didn't make these sessions easy for him; in the middle of the work, my main computer and recording setup chrashed [bad luck, or just incompetence?], with a number of raw files deleted, leaving us with some tough options.

Hopefully we nailed it anyway...

And, if you happen to not like it, make sure not to blame Mr. Oldfield for it...

//DS Sept 22, 2016

Oldfield's Let There Be Light - Mike Hilton & David Svensson (Guitar Version)

VARIATIONS OVER A THEME BY M. OLDFIELD ["OMMADAWN"].
DRAFT VERSION (TO BE COMPLETED 2017).

INSTRUMENTS: classical guitar and two 6-stringed steel guitars, electric guitar, and keyboards (= organ, bass, kalimba, flute, VST voices; drums played by hitting muted guitars & drum pad).

The classical composers did this all the time: taking a melody by someone else, and composing something new out of it - Variations by a theme by X. E.g., Johannes Brahms made a wonderful 25-part piano-suite based on a theme by Handel (en.wikipedia.org/wiki/Variations_…_Theme_by_Handel), ending with an amazingly complex contrapunctal passage. A stunning piece, well worth seeking on Youtube (or whereever).

My uploaded track is an attempt to create some variations on a theme by Oldfield. For reasons explained below, it is only a first draft and it is clearly a bit unpolished. I plan to make it considerably longer.

Wouldn't it be better to focus my efforts on my own material entirely, you may ask? Rather than fiddeling around with old ideas? Well, that is not always how inspiration works! 

Due to recently having bought a new guitar, I wanted to soundcheck it, investigating it's scope and limitations together with other instruments. So, (perhaps inspired by the soon release of R.T.O. by Mr. Oldfield, scedueled for the 20th January), I started to improvise over the OMMADAWN theme... Initially, that allowed me to focus on the guitar playing, rather than composing... One thing gave another, the recording became longer ... I never planned to release this - but the challenge is here now: the mountain is in front of me, and for that reason only I must climb it. As simple as that - it keeps me inspired!

In my view, no progressive instrumental record is more remarkable than the original 1975 OMMADAWN; absolutely stunning in all possible ways, and it has shaped my own way of approaching music. [Obviously, no comparison intended -any such would immediately result in a RED CARD]. 

The original OMMADAWN is an artefact. With its unearthly motifs, harmonics, continuous flowing, superior playing on a multitude of instruments (including some tremendously advanced guitar solos), it is incomparable to all other music.

Did I not know better, I could have counted it as a success of the SETI project: finally, a message from the Overlords! Inserted here on Earth by a vastly superior civilisation, with an intruiging hidden message ... :) Damn it that we can't grasp what it has to say to us - but for sure, something deeply profound. The only thing we intuitively feel is that it can't have been composed by any human - right? Finally, a really wonderful conspiratory theory! Alan Turing still alive, working secretly in Area 51 using super Quantum Computers on decrypting the inner meaning of the 1975 OMMADAWN signal... ;)

Regardless of what you may think of my draft, it was respectfully meant, and in the unlikely event that you liked some of it: make sure to fully credit the original composer for that. 

First draft recorded 14-15 January 2017. (Uploaded 18th - wanted it partially out-of-my-system before the 20th).

Thx for listening //DS

OMMA CONTRAPUNCTUS PROJECT (variations over a theme by Oldfield)

WRITTEN AND PLAYED BY DAVID J. SVENSSON 2016-2017. INSTRUMENTS: ELECTRIC AND ACOUSTIC GUITARS, KEYBOARDS, DRUMPAD, DRUM LOOPS.

The music emerged as a spinoff from work on a longer instrumental suite with working name BEST OF 2 WORLDS, and shares the same musical DNA. In particular, two core ideas from BO2W are varied here, one appearing in many forms on the classical guitar while the other one is carried by the synths and futher developed in the electric guitar solos towards the end.

It is unknown when (if at all) the longer track BO2W will be released. Sometimes, draft pieces decides to stay in the pipe, forever... At present time, around 10 minutes have been recorded.

It is a bit like taming wild animals, I guess... unpredictible outcome, no way to tell when further progress might want to appear...


YRS//DS

3 WORLDS COLLIDE

As a sign of life (while still working on something else), releasing a take-out from my https://soundcloud.com/davidjsvensson/oort-cloud-project-part-i-ix

This part (of the considerably longer full track) is my personal favorite section; please allow me to publish it as a 'single'. 

Composed and Played by David J Svensson 2016. Keyboards, Organ, Electric and Classical Guitars, Drum Pads, Drum Loops.

(I changed the title of this track to the current one - wasn't satisfied with the first one, it didn't reflect my intentions fully).

TRANQUILITY

DRAFT composition by DS 2015, with lost master files. Didn't fly.

INSTRUMENTS: Keyboards, Classical Guitar. 

A sort of sonata born when improvising on the keyboard - then built into a semi-classical track, with a lead classical guitar. 

Then there was a laptop crash :)

Pls accept my appologies for this little totally underdeveloped piece. Releasing it anyway, while working on something more serious...

LOCAL TIME AT ORIGIN

WRITTEN AND PLAYED BY DS.

This was Work-In-Progress until the computer died (2015). A crude sketch to a longer progressive work - but the result contains elements that inspire me. It is one of my little personal favorites .... 

/DS April 2018 (edit January 2024).

APPROACHING

Concieved, composed and recorded in Vienna and Gothenburg 2014-2015. Reworked 2018 into what it was intended to be: a monster.

INSTRUMENTS: 
- Electric Guitars. 
- Acoustic Steel (6s- and 12s) Guitars, & Classical Guitars.
- Keyboards, Organ, midi-played Bass.
- Percussion, Drum Pads & Drum Loops.

Inspired by other animals.

+++Taurus IV+++

The MAIN part of the guitar suite GPBDS (with every sound including bass lines and percussion-sounds being handplayed on the electric guitar).  

Particular care was taken to establish a live feeling, and archieving a complex structure. 

I am satisfied how the most important theme enters at 1.45, and peaks at 2.24-2.57. After some experimental sections, its leads into the 2nd half, more slow and moody. At  5.09, it gets slightly darker, and contemplating.

Many of its themes re-appear in slightly different forms in the "FINALguitarsPlayedByDavidSvensson".
https://soundcloud.com/davidjsvensson/finalguitarsplayedbyds


/DS

THUNDER (GuitarsPlayedByDS@section2)

DECADE: Improvised into existence from scratch during the last hours of the decade ... A quick recording resulting as a protest against myself, and my endless recording projects ... 

Alone with our dog; other family members visiting relatives in another country. But make no mistake, an excellent way of spending the New Years evening; initiating some drum loops, without any ideas whatsoever: but feeling inspired, can I find something anyway... ? Initiating some chords via a Roland arpeggiator, time ticking away ... 

Update 22:49: Got the bulk of a track done. 0ne hour and counting ...

Update 23:27: adding a synth line right at the start of the final ... does it work...?

Update 23:48: I think it does. No time for polishing the mix, let it be raw! Upload now ... 

Going public 23:58 SWE time

INSTRUMENTS: YAMAHA & ROLAND keyboards, IBANEZ electric guitar, BOSS ME 80 pedal effects, drum loops. Recorded line-in, .WAV, no midi.

ARTCOVER based on a photo taken by DS 2019.

Happy New Year to all /DS, right at the border of 2019 and 2020!

DECADE

SNOWFLAKES VARIATIONS: COMPOSED AND PLAYED BY DS. 

PRELUDE: here introducing the main theme which will be heavily used in a much longer and more complex follow-up piece. RECORDED: audio-in handplayed, using two brand new Yamaha and Roland keyboards.

SNOWFLAKES VARIATIONS: It will be an agnostic kind of suite, in the sense that it follows no particular rules in how to develop, it simply grows, fractal style, in its own way ... The 2nd part is to 95% ready, and is extensive. It will feature more guitar work, and have more ebbs and flow. It has a bit of a different dynamics and the 'Prelude' didn't integrate well when inserted there - let's use it like this, as a teaser for the real work ;)

The inspiration came from some perfect days in the north; bright, ice-cold winter landscapes, with fine layers of snow falling, the sun still shining through ...

DS 10th January 2020.

Update December 2020: a 20-minute PART II is in the making and likely to be released early next year... polishing some transitions...

Update April 2021: As it happens, it took me more than 2 years to complete the 25 minute long Zummer Znowflakes.... 

_____________________________________________________________________







(To the SC IT staff: why do your Artificial-Idiot Engine play country-music with lyrics directly after my Prelude? There are not exactly lots of similarities? Any monkey would make a better guess)

SNOWFLAKES VARIATIONS: PRELUDE

CREATURES RISING: written and recorded during 2019-2020. 

Edit 2021: This was initially intended to become a longer progressive suite, a massive project, and I released a sample … 

But the other sessions took its own directions and it gave rise to “Report from planet 3” and further projects boiling in my pipeline. So now I consider this short track a standalone. 

I am quite happy with it as such, and thanks to all who listened.


Uploaded 7th April 2020, Edit 4th September 2021.

Artcover by DS 2021.

https://youtu.be/afXYxTemtVY

CREATURES RISING

REPORT FROM PLANET THREE: a 16 min long track based on some ideas emerging when I was exploring a new keyboard; the opening chords were among the first ever recorded - in "performance mode" (no midi) - and then other ideas grew out of it. I wanted to make a long and restless track with lots of related passages, variations on a theme... It started out rather electronically, but then I integrated the guitars, aiming for an ensemble approach; it took me a year to complete.

Most of it was recorded before the World Crises, but I now can't help to associate the sounds of the synth arpeggiators with the Virus flooding the Mankind. Although the music wasn't conceived as a statement over the new gloomy era, it is for me emotionally connected to it. When the music took shape, people started to die around us; personal values were at risk in the pandemic, when the virus probed a close family member for weaknesses for a prolonged period, resulting in severe pnemonia which almost took her life. For a more distant relative it was fatal.

For a long time, I intended to use these ideas for another big recording project. But then, I (rather late) realized that the material stands better on it's own - as a REPORT - and I am quite excited about it. The process was long and unpredictable, but that is the nature of composing ... All music was hand-played (if counting the arpeggiators and ignoring some drum programming) and overlaid using the DAW as a multichannel tape recorder (line-in, .wav), avoiding midi and accepting some non-fixable human error.

I understand that few will listen to it all (thanks if you did!) but I have always had a soft spot for longer tracks, where sections relate and share underlying DNA. A story, maybe our struggle for survival? Is the final too gloomy, should it have ended differently? But those complaining guitars at the end felt right to me, crying out their painful statements - a memorial over the losses, after our Ultimate Victory.

INSTRUMENTS: I used ROLAND and YAMAHA keyboards extensively, emulating synth sounds, organs, piano, bass guitar, and percussion. I also played my electric IBANEZ guitar through the BOSS ME80 pedal effects - including occasionally playing it as bass, and added (sparsely) some notes on my acoustic 6s Hagstrom and 12s GUILD. Both programmed drums and drumloops were used too, occasionally spiced by some extra ALESIS drumpad hits.

ARTCOVER: based on a photo taken 2018 by myself, arriving just in time at the southernmost spot of Sweden to capture the sunset while gathering up for the Blood Moon to appear.

A magical night, representing the great moments on Planet Three!

REPORT FROM PLANET THREE

THE FORECAST: an instrumental sketch written by DS in a thematic collaboration with Arctic Windhorse: special thanks to her for inspirational discussions, feedback and support during the recordings(which took place 2018-2019).

The music is slightly incomplete and has mixing issues but does it matter? Some human errors, yes; some non-fixable issues in the .wav master files, indeed. We welcome it as a blessing in times of coldblooded, perfect AI. Alive and kicking....

The most significant element of this track - the generator of the textures - is the analogue NORD A1, with it's rich pad layers. It is also symbolically fitting for a very nordic collaboration (Alaska and Sweden).

So what do we forecast? The answer is more bad weather.

NORD & Roland keyboards, vst bass guitar, electric guitar, Boss-ME80 pedal effects, acoustic guitar, drum loops, and cajun percussion.

THE FORECAST

Composer of multi-instrumental music, with a preference for longer, progressive and complexly arranged pieces.   

Have played guitar for many years, but I am probably a slightly odd type of guitarist. Not particularily interested in the guitar genre, not too keen on listening to long solos, etc. I don't enjoy playing for people - a party-killer, in short. However, leave me alone with this wonderful tool (or the keyboard, which I play too), and I will start experimenting with it, searching for something to develop. 

Strongly interested in classical music and anything remotely related to that. I want to construct music with a similar structure and complexity, although with other instruments, and in my own way...  
___________________________________________________________

During 2010-2013, I worked on a suite of related pieces, GUITARS PLAYED BY DS, with every sound played on the electric guitar. A major undertaking, and (all-in-all) 45+ minutes long, all complexly related and released in five segments.

During 2014-2015, the main focus was on the full-format 'LONG INSTRUMENTAL', a progressive work with lots of different instruments and sounds, restless and complex. Some sections stand on their own feet: MYSTERY, and FANFARE. 

The 2014-2015 recordings also resulted in two shorter pieces: CAMBRIAN EXPLOSION and CLUSTER OF WARNINGS.

During 2015 I initiated a suite played on classical guitars - GUITAR STRUCTURES. It is a series of slowly changing ideas, a weave of melodies and harmony, the first section out in April 2015 (the 2nd came 2 years later).  

I played guitars on Tolubai's wonderful ambient piece 'MEMORIES' (August 2015).

EARTHSHINE came out in January 2016; a darker and slightly dissonant progressive piece, and one of my personal favorites. So is SILENCE, out 1st July 2016. September 2016: IGNITION  with TOLUBAI and LET THERE BE LIGHT 22th Sept 2016 with PuppyWolf. 

20/11-2016: The OORT CLOUD PROJECT I-IX. An 18+ minutes long progressive synth-based instrumental, with lots of short guitar phrases integrated. Also, the spin-off PASSAGE was released. 

GROTESQUE released too in the end of 2016. The 19th January 2017, I released the sketch OMMA CONTRAPUNCTUS PROJECT. The 4th February 2017, the track '3 WORLDS COLLIDE' was released.

'Guitar Structure No. 2' out in March 2017, took 2 years to complete.

BEST OF 2 WORLDS was released in November 2017, another personal favorite composition.

APPROACHING: an unfinished sketch released 1st April 2018. TAURUS IV released 8th April 2018.

New Years evening 2019, quickly improvising a track: DECADE. Uploaded 23:58 local time. It was a very fun way of ending the year and I used a symbolic art cover with red sweeping in, but I wouldn't have dreamed of what was to come soon.

One main project this year is the SNOWFLAKES VARIATIONS suite; the Prelude was released in January 2020.

8th April 2020: CREATURES RISING was released. CREATURES OF THE RAINFOREST also a spinoff track (released 2021).

In the Lockdown March-April 2020, I recorded 'Era', out of frustration...

5th June 2020: REPORT FROM PLANET THREE, which was initiated 31st May 2019. 

31st July 2020: FORECAST was released. April 2021: ZUMMER ZNOWFLAKES, a 25 minute long track and one of my most ambitious ever. 

OCTOBER 22, 2021: OUTPOST. 

APRIL 28, 2022: The Disclosure (Part I).
SEPTEMBER 23, 2022: PEACE GUITARS.

OCTOBER 6, 2023: SHAMBOLIC GUITARS, possibly my best track ever.  

 ___________________________________________________________
Many thanks for visiting here, and for the comments, 'Likes' & reposts.

D.Svensson Sept. 2022

*********************************************
All rights to the audio/tracks, and album photography are reserved, and respectfully belong to the owner. 

© DavidSvensson.

DavidSvensson

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