WRITTEN AND RECORDED BY DS during many late nights...
Instruments: electric guitars, acoustic 6s/12s guitars, classical guitars, bass, hardware and software synths, keyboards, piano, drum loops, drum pads, cajun, drum programming.

THE FULL-FORMAT INSTRUMENTALS BY DS

Instrumental A

Rock and multi Genre 21 sping into summer

Contemporary fusion jazz classical and more

WAKE UP AND DREAM

Meditation

Selected tracks in no particular order but in my view the highlights of my output. Thanks for listening! Yrs /DS

BEST OF PLAYLIST

joban

Lunatics37/Sunshine Blues/Joerxworx&Ratzzz
the Blues influence of the lunatics
https://soundcloud.com/joerxworx

Lunatics37/Sunshine Blues/Joerxworx&Ratzzz

The Look Of Love, was written by my all time favourite songwriters Burt Bacharach and Hal David....pure genius, if you ever get a chance listen to their back catalogue!! 
Thank you to jazzbacks for providing a beautiful backing and I added the strings and extra  percussion and solo/guitar/piano.

Stay well out there!!! And thank you for all of your shares plays and support.

The Look Of Love   (Burt Bacharach & Hal David)  Cover

I present to you for the World Piano Day 2021 a wonderful Jazz standard from the 1960's called "Make Someone Happy"
Written by Jule Styne for the 1960 Broadway musical "Do-Re-Mi"
Played by many but most notably recorded by the amazing Bill Evans for his album Alone (Again) (recorded in December 1975 but not released until 1977)
Enjoy XXX and MAKE SOMEONE HAPPY :)

Recorded at JB Studios Prague with a Yamaha C5 Grand.

Make Someone Happy

I usually wait a lot longer before posting tracks, but I decided to post this one on impulse today. This track is about the idea of summer. Although  I produced it a few weeks ago, and since yesterday was a gorgeous day, full of sunshine and birds singing, well, it made me feel hopeful, always does. I could already imagine myself relaxing or rather having fun on the beach with my love, both enjoying the calm soothing waves. I’m a romantic, can’t help it. 
So enjoy this beautiful sunny day with me. Love to all. Copyright protected ©

It's Just A Game We Play ©

« Invention N°14 » for Piano 
Composed and recorded in my Home - Studio on Thursday, April 1, 2021
Franck Douvin © 2021 Piano inventions
Thanks for listening. Hope you'll like it!
Here's the link on YouTube : https://youtu.be/sec-Na3KX_Y

« Invention N°14 » for Piano

Beefus and I ended our @cabal-akademik project at the beginning of this year. We decided to head in a different direction this time. @beefusbruiser

A an enthusiastic salute and thanks to Dark Fidelity Hi-Fi's Rick Jones for the amazing mastering job!  @richard-jones-215  @rick-jones-539511301 

When all the rivers and oceans have dried up you shed no tears
It's all beyond us now
Look at the pain and destruction you brought us,
you have no shame
it's you I blame

they're watching all of the flames and the smoke that's burning
The clouds are tumbling down, sheer panic, don't look back
Brother man, you happy? why did you do this to me...
When the Crows speak

We will always be here
you will fade away

they're watching all of the flames and the smoke that's burning
The clouds are tumbling down, sheer panic, don't look back
Brother man, you happy? why did you do this to me...
When the Crows speak


https://cabalakademik.bandcamp.com/album/trespassers
https://cabalakademik.bandcamp.com/album/bedimmed
https://bpweatnurecords.bandcamp.com/album/workshop

When Crows Speak | Beefus B & Belial Pelegrim

Daisies Meadow - Fleursonseaux
All rights reserved - © Copyright

Daisies Meadow

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

I Can


Verse 1:
Yes you can say it
If you can say it, then you can do it
There are many struggles ahead
Meeting those struggles starts in the head
Say “I Can’ is the first step to overcoming those hurdles in life

Chorus 1 & 2:
You may think you can’t
But you can do more than you think
Step one is convincing yourself
Then figuring it out

Verse 2:
How do you accomplish what you desire
Put on the polish and turn on the fryer
The thoughts are not easy
Nor are they sleazy, but
The actions will challenge
And you may have to put out your talons
Start at Step 1, Step 1

Chorus:

Instrumental Verse and Chorus 3

Verse 4:
You are your own demon
Get to your brain a cleanin’
Your mind can be your friend
And put you on the mend

Or it can be an evil demon
In league with the devil’s legion
Get the do it mind set
Keep aimed with your sights set

I Can

Starting Terminus - RUIZZO's Point Of View (Piano by Fivos Valachis)

Para Lia - Kassandra
from the album ‘Gone With The Flow’
paralia.bandcamp.com/album/gone-with-the-flow

Visit the 3D virtual art exhibition with the great work of Louis Renzoni and the music of Para Lia here:
https://www.sophisticatedape.com/gone-with-the-flow-exhibition/

words and music by René Methner
mix and production: René Methner
mastering: Thomas Heimann-Trosien, TurnstyleMastering, Berlin
cover artwork based on Louis Renzonis 'Light From A Candle' 

Follow Para Lia on:
www.facebook.com/paraliamusic/
www.instagram.com/paralia.music/
twitter.com/para_lia_band

The background for the inspiration of course is Homer and the tales on the Trojan war. But Kassandra does not tell a story – it’s a kind of a painting with an ancient scenery or maybe just a sketch: Kassandra in front of the burning city. And it could be a modern painting. We are in a distance of more than 3.000 years to the plot of the ancient tales – and still mankind has Kassandras and tears in front of burning cities.

Working on Kassandra i had in mind from the beginning that Cindy will take the main voc in this song. So i wrote the harmonies and the song structure with that in mind and i love how she sings the song. Kassandra also includes a few notes played with a Greek Baglamas and helps the song to get a special note. This string instrument is the small sister of a Bouzouki. 

lyrics:
on sungod days in the morning dew
the tears of kings are just a few
meaningless rain drops

we keep that fire burning
until the tide is turning
and the ships are grounded

in the golden light of the afternoon
she is dancing like the queen of doom
she blinks into the sunlight

we keep that fire burning
until the tide is turning
we watch the flames rise higher
we keep that fire burning
until the tide is turning
we watch the flames rise higher
into the sky
into the sky

Gone With The Flow

Bandcamp

Kassandra

Ambient Epic Fantasy Track - Watch the music video here: https://www.youtube.com/watch?v=JSFcIHco6S0

Destiny

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

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

Fujara

COMPOSED AND PLAYED BY DS 2015-2016 using keyboards, organ, distorted electric guitars, acoustic guitars, midi-played bass, percussion & drum pads (and drum loops).
SPECIAL THANKS: to @tolubai for valuable feedback during the development phase.
* * * 
In the mood for something easy, clear-cut, and straightforward? Look elsewhere. EarthShine is a dark, experimental and slightly dissonant piece; clearly not intended for the charts, and with a rather unclear purpose ... (which, by the way, is entirely to the liking of the composer, with his evidently rather odd taste).

Initially concieved as a PRELUDE to the two-part instrumental published earlier (https://soundcloud.com/davidjsvensson/long-instrumental-part1draft-ds2015), taking one of the main themes into another iteration, in new directions.

The main theme, the slightly dissonant opening theme (based on a Gminor chord over the bass note H, followed by a Hminor chord), gets evolved into the more harmonical organ/synth sequence appearing multiple times in the final, thus ending this piece (and the entire suite) on a more positive note.

* * *

The rather odd music was partly inspired by ideas and discussions in 'Superintelligence: Paths, Dangers, Strategies' (www.nickbostrom.com, Oxford University); a remarkable work apparently taken very seriously by e.g., B. Gates, and respected scientists such as M. Tegmark, S. Hawkings, and M. Rees.

"Artificial intelligence already outperforms human intelligence in many domains" [p.11]. Still, the idea of an intelligence explosion occuring in our life time is to many laughable, and, clearly, it is unknown if it can occur at all; we only know that Nature once rigged materia in such as way that high intelligence emerged (i.e., us) [insert your own interpretation here].

Some would argue that there are much else in the world to worry about first; but, is this a new kind of Manhattan Project actually coming up on the horizon, with potentially far-fetching existential consequences for Mankind?

It remains to be seen if it was correct to end the music with some hope.

//DS 2016



EARTHSHINE

OORT CLOUD PROJECT PART I-IX: Composed and Played by David J Svensson 2016. Keyboards, Organ, Electric and Classical Guitars, Drum Pads, Drum Loops. Related to the track 'IGNITION' (see further below). 

An 18 minute instrumental of the 'epic' kind, meaning lots of related parts and self-references, themes developing, as if telling some story, a journey ... A genre I personally very much like, regardless of the actual style of the music. 

The track took more than a year to complete, and hopefully evokes images of a vast and abstract project taking place far beyond our sphere of influence, beyond our control and original intentions...  

Such were the thoughts of the day-dreaming composer while working on this suite :)

The initial inspiration came from the rather simple but quite amazing fact that the outermost region of our solar system goes as far out as one light year (or even further). Totally out-of-reach for us, with our current technology...  

Just imagine some grand project with trajectory to Oort Cloud ... A relic from Earth, an anomaly in the Solar System, finally at target after 12000 years. 

OORT CLOUD PROJECT is not a guitar piece and so features rather few lead guitars.. Instead I have opted for a 'colder' sound, with all those montone sequencers and church organs responsible for unfolding the story. There are however (I couldn't resist to add) lots of supporting guitars, hidden or integrated withing the mix.  

Some of this work lead to collaborations with https://soundcloud.com/tolubai: "Silence" and "Ignition".  Special Thx to him for many greatly inspiring discussions and co-work on the spin-offs tracks! We decided to work on shorter segments, for no other reason than both having a limited amount of time for composing. (Here, I use a reworked segment of "Ignition" for opening up the suite, the first burn initiated, escaping Earth ... I had to use it again, since it contains material that I develop further downstreams. Bonus points for correctly identifying all such events ;)). 

Special Thx to HIBERNOLOGY (https://soundcloud.com/user-778034516) for kindly giving useful feedback on a draft version, and for a lot of support.

Thanks for listening/commenting - very much appreciated. 

Yrs//DS (20 November 2016)


ps. I lost some files in a computer chrash earlier this year; therefore, (in some sections) I had to work with surviving WAV files rather than the actual 64-bit DAW data files... As a result, the sound quality isn't as good as I hoped for. My appologies for this, and in the future I will constantly backup all files in a truly paranoid fashion. The wonderful irony that a technological disaster occured in the middle of this work ;)

OORT CLOUD PROJECT PART I-IX

COMPOSED AND PLAYED BY DS 2015-2017.

THE BEST OF 2 WORLDS is a work of variations, seeking to explore the potential of three main motifs. It also has three main parts (although flowing continuously) so, perhaps, '3' should have appeared in its title.

However, I used '3' for 3 WORLDS COLLIDE - the sister track to BO2W - born out of the same recording sessions. If you hear both tracks, you may hear how they share the same DNA (in particular, the synth-horn fanfare).

I like to think of 'BEST OF 2 WORLDS' as a Concerto for (say) 12 musicians: four keyboardists, two guitarists, a bassist, a drummer, + four multi-instrumentalists playing all kinds of various odd ethnic instruments. Music to be performed on stage (although having some ambient and sequenced elements).

With this vision in mind, I tried to focus on archieving a certain live feeling; handplaying most of it, approximating what a performance on stage could sound like. Interactions between instruments, seeking a certain drive rather than perfect takes...

Would love to handpick fellow musicians from SC for such a concert! :)

The track: you might hear several spots, an unpolished feel at places, some slighty varying tempo due to handplaying, and some strange details; some of it due to lost masterfiles in a laptop chrash 2016, but overall I am happy anyway with the results. I hope my strong enthusiasm for the material should be detectable!

Sense how fun I had when exploring those three motifs scattered around everywhere, in various shapes! Carried away in late & dark recording sessions, trying to create ordered chaos, progression of the themes, a symphony of sounds!

BEST OF 2 WORLDS: the 1st movement opens slowly, and introduces the three motifs, before erupting in some more intensive passages; then, the 2nd movement is more of a low-key adagio; finally, the intensive 3rd section re-visits themes from the opening and returns home.

My sincere thanks for any plays/comments/likes - but more than anything else, my strong appreciation for you to just listening to it! Few will stay for the full 15 minutes, but, if so, hopefully detect all the main-motif mutations along the trip! (Which is what drives me to write so long pieces in the first place: to explore what the core idea can be used for...). 

Artcover by DS, photo taken by I. Svensson at Creete 2017.

/DS 17 Nov 2017

ps. The sister track is here: Davidjsvensson – Worldscollideds2017

THE BEST OF 2 WORLDS

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

Mazalini - 'Lost reality'

window time

Recorded in Modesto, Ca.  Featuring...Dobro Guitar solo, Mandolin solo, Fiddle solo, Accordion Rhythm, Banjo Rhythm, Godin Acoustic Guitar Rhythm, Fender Electric Bass regular, Fender Electric Bass Flanging, Trap Drum set country Shuffle, Percussion.

Greener Grass

Grass Lullaby

just a little song about a little tired robot

robot lullaby

Equinoxygen

Inspired by Felix Baumgartner and his jump from a helium balloon in the stratosphere on 14th Oct 2012. He fell an estimated 39km and broke the sound barrier!
Humanity is capable of amazing and brilliant things.

Video of him doing it https://www.youtube.com/watch?v=dOoHArAzdug

Freefall (Instrumental) Remaster 16.01.21

Heres' a 6/8 track with acoustic guitars, strings, percussions, electric guitar, claps, drums and bass.

Thank you for listening :)

Composition: Julien Apelian
Recording studio: Audio Colors
January 2021.

Landscape of Andalusia

Listen:
Spotify: https://vk.cc/bYb2If
Apple Music: https://vk.cc/bYb2OK
Yandex Music: https://vk.cc/bYb2YJ
YouTube Music: https://vk.cc/bYb38m
Deezer: https://vk.cc/bYb3hJ
Bandcamp: https://plannpi.bandcamp.com/track/insects

Plann Pi - Insects (feat. Dmitry Krupin)

Track shows a very delicate theme and a quite hard-riffed part, both alternating and finally flowing up to an endless symphonic dream (words are half a poem I wrote previously (not these, but lyrics below)).

Letra  /  Translated lyrics:

No despiertes (Sólo un sueño)  /  Don’t you wake up (Only a dream)

No... despierta... no... no despiertes  /  No ... wake up ... no ... don’t you wake up
no, cuidado... no despiertes, na na na na na...  /  no, take care ... don’t you wake up, na na na na na…
... despierta al fin y date cuenta  /  ... wake up at last and realize
de que todo ha sido un sueño, na na na na na...  /  everything has been a dream, na na na na na...

Una vez más, nervios y resentimiento,  /  Once again, nerves and resentment,
todo en mi vida es sueño, sólo ha sido eso.  /  everything in my life is a dream, it has only been so.

Y de nuevo, con el tiempo,  /  And again, with time,
incubando un nuevo sueño,  /  incubating a new dream,
me voy hundiendo en mis propios brazos,  /  I am sinking in my own arms,
me acuno, me canto y me voy acostumbrando...  /  cradle myself, sing to myself and get used...

Otro escenario, otros personajes,  /  Another stage, other characters,
la misma historia, na na na na na...  /  the same story, na na na na na...
que durará un día, un milenio,  /  which will last one day, a millenium,
toda mi vida, na na na na na...  /  all my life, na na na na na...

Pero sin duda vendrán a despertarme  /  But undoubtedly the laughs of people
las risas de la gente, alguna tarde.  /  will come to wake me up, any evening.

Y entonces, con miedo...  /  And then, fearfully...

No... despierta… no… no despiertes (…)  /  No ... wake up ... no ... don’t you wake up (…)

No despiertes (Sólo un sueño)

Back in the driver seat, Welcome to the EEM Todays Nightmare.

Todays Nightmare

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: 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!
 ___________________________________________________________
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.