Deja Vu Rendezvous

Dreamy world-ambient with warm synth pads, tabla and soft shakers. Deep double bass creates a flowing groove, while delicate acoustic guitars add warmth. Ethereal Hindi vocal harmonies rise in the cho

Mystic Tabla Flow

The Healing Ray

Fubbles

Saw Donovan in concert in The Pavilion Theatre, Glasgow not so long ago, It was an anniversary concert, and he said that this was the first big place that he performed in, and it was like coming home. He sat crossed legged on a little rug on the floor, despite his old bones and charmed us with his music and storytelling. It was a very vibrant Glaswegian audience, a lot of them probably personal friends of old and family, so a great deal of heckling and laughter, which he took in his stride, and I'm sure he very much enjoyed the huge love and  warmth that filled the theatre that night!
Love his music, and difficult to choose only one, but this was a favourite of a dear old friend.
For GeGe & Wolfi
Let the love flow freely! <3 <3 <3
Lizzie vocals and harmonies, guitar and moothie (Harp)
Cover photo taken in the beautiful seaside town called Trinidad, in Humboldt County, California...a huge source of inspiration for me, and if you are up that way, you must visit as it is a joyful experience, not just the place, but the people and Art community!

CATCH THE WIND - Donovan

A small collection of pieces about spring I recorded with Stefanie Schastok on Flute.


春

ranoj printempe

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

Someone is going to be sorry
Someone is going to be glad
If you tell me what time your train leaves I’ll work out if I’m happy or sad

You came here unannounced and uninvited
With a shoulder bag and a coat
To a small town in the sand dunes
And a string of fishing boats

Down the alleyways and the backstreets
Past the boarded shops and pubs
windows covered with posters for karaoeke clubs

The market place is empty,
Cobbles glisten in the dawn,
but the sun doesn’t rise as the
mist comes in, off the shore

Someone, somewhere
In a street in a town in a country over there
Somehow, someway
With a wish with hope with a prayer
With a desperate heart full of fear
With the promised land so far and yet so near


Somebody took advantage
Someone else took pity on you
Pulling beer in the volunteer
Under flags of red white and blue

Your accent is confusing
From somewhere to the East
You said the name but it didn’t mean much to me

Your skin is pale like paper
hair is black as tar
You lined up shots like bullets
And arm wrestled me off the bar

We all stood to form a queue
Of knuckle cracking clowns
Our tattooed facing sweated
As you took each of us down

Someone, somewhere
In a street in a town in a country over there
Somehow, someway
With a wish with hope with a prayer
With a desperate heart full of fear
With the promised land so far and yet so near


Somebody’s going to be angry others will be satisfied
I’ll make up my mind in a year or two
When the memory of you has died

Someone is going to be sorry
Someone is going to be glad
If you tell me what time your train leaves I’ll work out if I’m happy or sad


Someone, somewhere
In a street in a town in a country over there
Somehow, someway
With a wish with hope with a prayer
With a desperate heart full of fear
With the promised land so far and yet so near

So Near, So Far

Purnima

A picture of A horse

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...  
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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: SUMMER SNOWFLAKES, a 25 minute long track and perhaps my most ambitious ever. 

OCTOBER 22, 2021: OUTPOST. Was hell of a lot work behind this, which started out as the "Conquerer" project already in 2017. 

APRIL 28, 2022: The Disclosure (Part I).
SEPTEMBER 23, 2022: PEACE GUITARS. A track very dear to me, much of it written outdoors at the shores with my lovely dog with me. 

OCTOBER 6, 2023: SHAMBOLIC GUITARS.  Intensive recordings!

DECEMBER 7, 2024: TABOOOO released. (Oldfield Tribute)

SEPTEMBER 6, 2025: WATERFALL (part 1). Another part will follow in 2026!
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Many thanks for visiting here, and for the comments, 'Likes' & reposts.

D. Svensson Sept. 2022

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

© DavidSvensson.