Thu, 23 Apr 2026 18:27:10 +0200 https://hearthis.at/davejsvensson-bv/ en-EN contact@hearthis.at contact@hearthis.at https://hearthis.at/davejsvensson-bv/ https://img.hearthis.at/2/4/4/_/uploads/8868030/image_user/w1400_h1400_q70_ptrue_v2_----cropped_1501397442.jpg no no https://hearthis.at/davejsvensson-bv/thewaterfall6sept2025v2/
Over time, ideas started to accumulate, and it felt generally fun to just keep recording.

I’ll admit, part of the inspiration came from a beautiful trip to a magical northern spot, home to a stunning waterfall (see my art cover). Whether that feeling made it into the music—well, I’m honestly not sure.

The final result is this 7-minute progressive guitar journey, featuring two electric guitars, two steel-strings, and one classical guitar.

Feel free to take a listen and let me know what it brings to mind!]]>
Over time, ideas started to accumulate, and it felt generally fun to just keep recording.

I’ll admit, part of the inspiration came from a beautiful trip to a magical northern spot, home to a stunning waterfall (see my art cover). Whether that feeling made it into the music—well, I’m honestly not sure.

The final result is this 7-minute progressive guitar journey, featuring two electric guitars, two steel-strings, and one classical guitar.

Feel free to take a listen and let me know what it brings to mind!]]> 12692649 no no Sat, 06 Sep 2025 12:21:44 +0200 2025-09-06T12:21:44+02:00 7:22 https://hearthis.at/davejsvensson-bv/tabooooremix13decmix3/
MUSIC WRITTEN AND RECORDED BY DS 2022-2024. TRIBUTE to the unforgettable Mike Oldfield and the instrumental genre he invented; vaguely based on the concept of a never heard album, possibly Tubular Bells 4.

INSTRUMENTS: PRS & Schecter electric guitars; Takamine acoustic guitar; various VST synths (e.g., Zebra2, AAS) played via a Yamaha physical keyboard; drum loops, various pedal effects by BOSS and ZOOM.]]>
MUSIC WRITTEN AND RECORDED BY DS 2022-2024. TRIBUTE to the unforgettable Mike Oldfield and the instrumental genre he invented; vaguely based on the concept of a never heard album, possibly Tubular Bells 4.

INSTRUMENTS: PRS & Schecter electric guitars; Takamine acoustic guitar; various VST synths (e.g., Zebra2, AAS) played via a Yamaha physical keyboard; drum loops, various pedal effects by BOSS and ZOOM.]]> 11571657 no no Sat, 14 Dec 2024 11:13:57 +0100 2024-12-14T11:13:57+01:00 9:58 https://hearthis.at/davejsvensson-bv/shambolicguitars6oct2023/
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]]>
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]]> 10295680 no no Wed, 11 Oct 2023 20:49:36 +0200 2023-10-11T20:49:36+02:00 14:30 https://hearthis.at/davejsvensson-bv/oneoutpostfinalversionv2/ . 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.]]> . 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.]]> . 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.]]> 7090630 no no Sat, 24 Sep 2022 15:54:13 +0200 2022-09-24T15:54:13+02:00 12:44 https://hearthis.at/davejsvensson-bv/peaceguitarsbyds2022/
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).]]>
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).]]> 7090306 no no Sat, 24 Sep 2022 11:36:25 +0200 2022-09-24T11:36:25+02:00 11:40 https://hearthis.at/davejsvensson-bv/disclosurepart1/
Science Fiction Soundtrack. (The 2nd part is still encrypted). //DS 28/4/2022]]>
Science Fiction Soundtrack. (The 2nd part is still encrypted). //DS 28/4/2022]]> 6770341 no no Sat, 21 May 2022 20:54:57 +0200 2022-05-21T20:54:57+02:00 7:30 https://hearthis.at/davejsvensson-bv/zummerznowflakesbyds/
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.

ZUMMER ZNOWFLAKES 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. I might upload an 2.0 in a not too distant future. In the last moment I decided to modify the intended title 'Summer Snowflakes', as a statement to myself: this is no longer the draft I lived with for such a long time - this is the end product.

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!]]>
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.

ZUMMER ZNOWFLAKES 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. I might upload an 2.0 in a not too distant future. In the last moment I decided to modify the intended title 'Summer Snowflakes', as a statement to myself: this is no longer the draft I lived with for such a long time - this is the end product.

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!]]> 5821815 no no Sun, 11 Apr 2021 15:56:54 +0200 2021-04-11T15:56:54+02:00 25:00 https://hearthis.at/davejsvensson-bv/theforecastv7fordrooble/
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 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.]]> 5821827 no no Sun, 11 Apr 2021 16:03:14 +0200 2021-04-11T16:03:14+02:00 7:00 https://hearthis.at/davejsvensson-bv/reportfromplanetthreebyds2020-0vM/
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!]]>
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!]]> 5029056 no no Fri, 05 Jun 2020 13:02:00 +0200 2020-06-05T13:02:00+02:00 16:20 https://hearthis.at/davejsvensson-bv/erabyds5may2020v2d/
'Only a person with a twisted mind would record something like this.

Close to the edge, long term pressure - society in full crises. Death rates, stockpiling. When will it end? Will it end? Will there be a 2nd wave, a more dangerous one? For how long time will the world be f' up?'

Instruments forced to appear on tape where: IBANEZ ELECTRIC GUITAR, BOSS ME80 PEDAL EFFECTS, GUILD 12-stringed GUITAR, HAGSTROM 6s acoustic GUITAR, ALESIS DRUM PAD, ROLAND FA06 KEYBOARD.

Recorded under considerable worry in March 2020 when states in Europe started to lockdown. Added further guitars the 5th May in a sudden flash of inspiration. Thanks also to a good old SC friend for a comment on a draft that made me considering finalizing the track!

I could now try to hide behind a claim like "this was just for fun", "it's not a real track", etc; but, actually, this is rather me: this is what I do, when nobody stops me!]]>
'Only a person with a twisted mind would record something like this.

Close to the edge, long term pressure - society in full crises. Death rates, stockpiling. When will it end? Will it end? Will there be a 2nd wave, a more dangerous one? For how long time will the world be f' up?'

Instruments forced to appear on tape where: IBANEZ ELECTRIC GUITAR, BOSS ME80 PEDAL EFFECTS, GUILD 12-stringed GUITAR, HAGSTROM 6s acoustic GUITAR, ALESIS DRUM PAD, ROLAND FA06 KEYBOARD.

Recorded under considerable worry in March 2020 when states in Europe started to lockdown. Added further guitars the 5th May in a sudden flash of inspiration. Thanks also to a good old SC friend for a comment on a draft that made me considering finalizing the track!

I could now try to hide behind a claim like "this was just for fun", "it's not a real track", etc; but, actually, this is rather me: this is what I do, when nobody stops me!]]> 5821837 no no Thu, 30 Apr 2020 03:20:00 +0200 2020-04-30T03:20:00+02:00 8:50 https://hearthis.at/davejsvensson-bv/decadebyds31dec2019v5panupdate/ 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: 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!]]> 5821851 no no Tue, 31 Dec 2019 16:28:00 +0100 2019-12-31T16:28:00+01:00 5:14 https://hearthis.at/davejsvensson-bv/thebestof2worlds2017v7/
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 & 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 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 & 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]]> 1636633 no no Mon, 20 Nov 2017 14:54:43 +0100 2017-11-20T14:54:43+01:00 14:41 https://hearthis.at/davejsvensson-bv/elliptical-orbit-single-from-oort-cloud-project/
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.]]>
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.]]> 1466406 no no Fri, 28 Jul 2017 15:07:23 +0200 2017-07-28T15:07:23+02:00 4:13 https://hearthis.at/davejsvensson-bv/guitar-structure-no-2-by-david-j-svensson/
The 1st Structure took only a few days to produce, whereas the 2nd required almost two years. The recordings were initiated in May 2015, with a shorter track in mind.

But that didn't happen; the nature of the new material was different. The piece seemed to have it's own will, claiming it's right to exist as a very long, complexely arranged instrumental. A bit like a classical Toccata, with many little related sections flowing into eachother.

Even the Sun has it's spots; very few pieces (if any) are totally perfect and the attentive listener might surely find unpolished details [or even dislike the whole thing!]. These spots (an occasionally raw sound, some slightly out-of-timing notes, a crude transition?) will only too well reflect the struggle I had with pressing home this beast, this mathematical monster. How to end this guitar circus with some dignity was my problem for a long time...

Endless attempts failed, one after another... "Kill your darlings" they say, and boy, I did. Very many recorded parts were excluded, deleted, slaughtered, with some considerable frustration :) Rest in piece...

No suitable final, no ending bars making justice to my vision? An unfortunate destiny for this large project, totally ruining it...

So, with the bulk of the work completed in early 2016, I kept hoping for a way out of this labyrinth ...

But one day recently, to my joy and pure luck, I strumbled across what I wanted. It seemed to stick, things came together. Releasing the tension, letting this long journey come to rest. Some new hope again, the 'Structure Project' still alive, after all... ?

When closing in to the end of this piece, sense my struggle with it... Living on the edge! ;)

Listening to the full piece now fills me with joy, and I hope some others will enjoy it too.

//DS March 2017

ps. Despite the trouble described above, it is likely that another part will follow. A shorter one... ;)

ps2. Artcover by DS, with the bottom guitar being the one played on this track. A Yamaha NTX700, wonderfully playable with its rather physical sound, the lower strings sometimes ringing as a cello...]]>
The 1st Structure took only a few days to produce, whereas the 2nd required almost two years. The recordings were initiated in May 2015, with a shorter track in mind.

But that didn't happen; the nature of the new material was different. The piece seemed to have it's own will, claiming it's right to exist as a very long, complexely arranged instrumental. A bit like a classical Toccata, with many little related sections flowing into eachother.

Even the Sun has it's spots; very few pieces (if any) are totally perfect and the attentive listener might surely find unpolished details [or even dislike the whole thing!]. These spots (an occasionally raw sound, some slightly out-of-timing notes, a crude transition?) will only too well reflect the struggle I had with pressing home this beast, this mathematical monster. How to end this guitar circus with some dignity was my problem for a long time...

Endless attempts failed, one after another... "Kill your darlings" they say, and boy, I did. Very many recorded parts were excluded, deleted, slaughtered, with some considerable frustration :) Rest in piece...

No suitable final, no ending bars making justice to my vision? An unfortunate destiny for this large project, totally ruining it...

So, with the bulk of the work completed in early 2016, I kept hoping for a way out of this labyrinth ...

But one day recently, to my joy and pure luck, I strumbled across what I wanted. It seemed to stick, things came together. Releasing the tension, letting this long journey come to rest. Some new hope again, the 'Structure Project' still alive, after all... ?

When closing in to the end of this piece, sense my struggle with it... Living on the edge! ;)

Listening to the full piece now fills me with joy, and I hope some others will enjoy it too.

//DS March 2017

ps. Despite the trouble described above, it is likely that another part will follow. A shorter one... ;)

ps2. Artcover by DS, with the bottom guitar being the one played on this track. A Yamaha NTX700, wonderfully playable with its rather physical sound, the lower strings sometimes ringing as a cello...]]> 1466407 no no Wed, 29 Mar 2017 21:45:13 +0200 2017-03-29T21:45:13+02:00 10:00 https://hearthis.at/davejsvensson-bv/3-worlds-collide-ds-2017/
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]]>
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]]> 1466408 no no Sat, 04 Feb 2017 18:40:03 +0100 2017-02-04T18:40:03+01:00 4:35 https://hearthis.at/davejsvensson-bv/omma-contrapunctus-project-draft-version-variations-over-a-theme-by-oldfield/ 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]]> 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]]> 1466409 no no Wed, 18 Jan 2017 22:17:22 +0100 2017-01-18T22:17:22+01:00 3:31 https://hearthis.at/davejsvensson-bv/grotesque/
Written and Played By David J. Svensson.]]>
Written and Played By David J. Svensson.]]> 1466410 no no Fri, 25 Nov 2016 17:43:15 +0100 2016-11-25T17:43:15+01:00 3:22 https://hearthis.at/davejsvensson-bv/passage/
A segment that didn't fit into my grand plan :)

To be honest, I never liked the rather cheesy guitar solo at the end, but there are other moments which I think are not entirely useless (although let us respect those who beg to differ!).

The main composition is https://soundcloud.com/davidjsvensson/oort-cloud-project-part-i-ix

Yrs /DS]]>
A segment that didn't fit into my grand plan :)

To be honest, I never liked the rather cheesy guitar solo at the end, but there are other moments which I think are not entirely useless (although let us respect those who beg to differ!).

The main composition is https://soundcloud.com/davidjsvensson/oort-cloud-project-part-i-ix

Yrs /DS]]> 1466411 no no Mon, 21 Nov 2016 12:14:08 +0100 2016-11-21T12:14:08+01:00 2:47 https://hearthis.at/davejsvensson-bv/oort-cloud-project-part-i-ix/
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.

Perhaps having escaped some runaway technology; some really annoying nano-Von-Neumann sonds, growing exponentially in numbers, with a just slightly mis-specified goal criteria... A machinery superintelligence, (the last invention of the Human race?), trying to solve a hard mathematical problem by building computing infrastructure in a runaway unlimited fashion; turning the planet into computronium?

Or, perhaps a mission for finally settling the Fermi Paradox - where is everybody, damn it!? There are trillions of suns and no clear evidence of life - is there some shield out there? Are we really alone ...

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 ;)]]>
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.

Perhaps having escaped some runaway technology; some really annoying nano-Von-Neumann sonds, growing exponentially in numbers, with a just slightly mis-specified goal criteria... A machinery superintelligence, (the last invention of the Human race?), trying to solve a hard mathematical problem by building computing infrastructure in a runaway unlimited fashion; turning the planet into computronium?

Or, perhaps a mission for finally settling the Fermi Paradox - where is everybody, damn it!? There are trillions of suns and no clear evidence of life - is there some shield out there? Are we really alone ...

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 ;)]]> 1466412 no no Sun, 20 Nov 2016 22:49:38 +0100 2016-11-20T22:49:38+01:00 18:53 https://hearthis.at/davejsvensson-bv/oldfields-let-there-be-light-mike-hilton-david-svensson-guitar-version/ 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 know 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]]> 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 know 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]]> 1466413 no no Thu, 22 Sep 2016 11:04:07 +0200 2016-09-22T11:04:07+02:00 5:50 https://hearthis.at/davejsvensson-bv/ignition-david-svensson-tolubai/ [TRAJECTORY PROJECT].

BURN COMPLETED IN FIVE, FOUR, ...

Make sure not to miss the music at https://soundcloud.com/tolubai !

]]> [TRAJECTORY PROJECT].

BURN COMPLETED IN FIVE, FOUR, ...

Make sure not to miss the music at https://soundcloud.com/tolubai !

]]> 1466414 no no Sun, 18 Sep 2016 19:24:19 +0200 2016-09-18T19:24:19+02:00 4:59 https://hearthis.at/davejsvensson-bv/rejected-dissonances/
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

]]>
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

]]> 1466415 no no Thu, 08 Sep 2016 20:23:31 +0200 2016-09-08T20:23:31+02:00 5:00 https://hearthis.at/davejsvensson-bv/silence-ds-feat-tolubai/ 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.)

]]> 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.)

]]> 1466416 no no Fri, 01 Jul 2016 14:52:19 +0200 2016-07-01T14:52:19+02:00 4:02 https://hearthis.at/davejsvensson-bv/earthshine/ 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

]]> 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

]]> 1466417 no no Tue, 26 Jan 2016 14:43:52 +0100 2016-01-26T14:43:52+01:00 7:23 https://hearthis.at/davejsvensson-bv/mediterranean-sea/
It would be embarrising to tell how old it actually is, but let me at least mention that it was recorded on a 4-track FOSTEX, on legendary casette tapes ...

It goes without saying that there are several moments with glitches and sound quality issues... Today, I would had added some more sections, and perhaps decreased the amount of reverb & echo... ;) Still, this was the choice of a younger and more restless myself, a look back in time...

INSTRUMENTS: spanish and electric guitars, drum machine, keyboards.

Yrs //DS
]]>
It would be embarrising to tell how old it actually is, but let me at least mention that it was recorded on a 4-track FOSTEX, on legendary casette tapes ...

It goes without saying that there are several moments with glitches and sound quality issues... Today, I would had added some more sections, and perhaps decreased the amount of reverb & echo... ;) Still, this was the choice of a younger and more restless myself, a look back in time...

INSTRUMENTS: spanish and electric guitars, drum machine, keyboards.

Yrs //DS
]]> 1466418 no no Sat, 21 Nov 2015 14:47:43 +0100 2015-11-21T14:47:43+01:00 3:11 https://hearthis.at/davejsvensson-bv/memories-tolubai-feat-david-svensson/ 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


]]> 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


]]> 1466419 no no Fri, 11 Sep 2015 20:41:01 +0200 2015-09-11T20:41:01+02:00 3:26 https://hearthis.at/davejsvensson-bv/guitar-structures-no-1-by-david-j-svensson/
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



]]>
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



]]> 1466420 no no Thu, 30 Apr 2015 15:17:24 +0200 2015-04-30T15:17:24+02:00 4:23 https://hearthis.at/davejsvensson-bv/sincere-apologies-for-the-nuclear-winter-by-ds/
From my archieves, a very OLD recording done using analog equipment only (4-track tape recorder). Instruments: electric guitars, keyboard, drum machine. (Not the best sound quality).

What is the most significant moment in the history of mankind? Not entirely easy to answer, of course. However, we live in a time conditioned on a pieceful outcome of the Missile Crises in October 1962; at the time, an highly improbably outcome.

How many would have survived The Winter? What would the world have looked like today?

Surely we are safe today; with failsafe AIs surveilling the sky, keeping us safe ... (Read this for some perspective: http://en.wikipedia.org/wiki/Stanislav_Petrov)

At the time of recording this, I had very clear ideas of what the sections stood for; hence, some annotation inserted within the track.

Yrs //DS
]]>
From my archieves, a very OLD recording done using analog equipment only (4-track tape recorder). Instruments: electric guitars, keyboard, drum machine. (Not the best sound quality).

What is the most significant moment in the history of mankind? Not entirely easy to answer, of course. However, we live in a time conditioned on a pieceful outcome of the Missile Crises in October 1962; at the time, an highly improbably outcome.

How many would have survived The Winter? What would the world have looked like today?

Surely we are safe today; with failsafe AIs surveilling the sky, keeping us safe ... (Read this for some perspective: http://en.wikipedia.org/wiki/Stanislav_Petrov)

At the time of recording this, I had very clear ideas of what the sections stood for; hence, some annotation inserted within the track.

Yrs //DS
]]> 1466421 no no Sun, 19 Apr 2015 14:37:41 +0200 2015-04-19T14:37:41+02:00 6:55 https://hearthis.at/davejsvensson-bv/taurus-iv/
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.]]>
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.]]> 1856568 no no Sat, 14 Apr 2018 14:45:02 +0200 2018-04-14T14:45:02+02:00 20:01 https://hearthis.at/davejsvensson-bv/quarantine/
Instruments: acoustic guitars (classical, and 6- & 12-string steel), electrical guitar, keyboards, midi-played bass and percussion, drum-loops.

For further details, see: https://soundcloud.com/davidjsvensson/long-instrumental-part1draft-ds2015
https://soundcloud.com/davidjsvensson/long-instrumental-part2draft-ds2015
]]>
Instruments: acoustic guitars (classical, and 6- & 12-string steel), electrical guitar, keyboards, midi-played bass and percussion, drum-loops.

For further details, see: https://soundcloud.com/davidjsvensson/long-instrumental-part1draft-ds2015
https://soundcloud.com/davidjsvensson/long-instrumental-part2draft-ds2015
]]> 1466422 no no Thu, 09 Apr 2015 08:53:08 +0200 2015-04-09T08:53:08+02:00 2:59 https://hearthis.at/davejsvensson-bv/fanfare-byds2015/
Instruments: 12-string steel, 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
]]>
Instruments: 12-string steel, 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
]]> 1466423 no no Thu, 09 Apr 2015 08:37:09 +0200 2015-04-09T08:37:09+02:00 1:45 https://hearthis.at/davejsvensson-bv/mystery/
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
]]>
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
]]> 1466424 no no Thu, 09 Apr 2015 08:34:46 +0200 2015-04-09T08:34:46+02:00 2:52 https://hearthis.at/davejsvensson-bv/long-instrumental-part2draft-ds2015/

For PART 1, see https://soundcloud.com/davidjsvensson/long-instrumental-part1draft-ds2015

Why unfinished?

During the recordings, I have started to experience some quite annyoing ear problems (tinnitus), and must abandon studio work for some time. Only time will tell if I can complete this into what it was meant to be... a complex, mysterious adventure, restless, packed with energy...

Instead, I have decided to post an interim version. Accept my appologies if some sections appear a bit pre-mature; but be assured that I was very serious indeed about this piece, spending endless hours thinking about it ...

I can hear the final version in my head; with some more fluent transitions, certain parts more developed, more air, ...

Although there are some rough edges, I feel the music already has it's own life and deserves a preliminary release. So here it is: the first version of it; please enjoy or hate it!

Very few people will care about this kind of long instrumental, and I have no illusions that it will reach out to many. But I am proud of it anyway.

The music: the sound is a bit retro by purpose; almost everything was handplayed, aiming for some kind of 'live' feeling; I avoided certain modern options in order to maintain a certain primitive sound flavour. The composition is based around three major themes (annotated in part1), all of which occure plenty of times in different shapes.

The music was recorded using the StudioOne 2 software. Instruments were acoustic guitars (classical, and 6- & 12-string steel), electrical guitar, keyboards, midi-played bass and percussion, drum-loops.

The piece had many working names; "Oort Cloud", "Instrumental Grotesque", and even "Taurus IV" (hinting sources of inspiration... ). Until there is a finalized version, let's stick with the more generic title.

For some time now, I will focus on the classical guitar, possibly composing something for this wonderful instrument.

But I'll also keep looking for ways of completing the long instrumental ... exploring some of its main themes further, planning the final version. Or possible release a 3rd part.

Until then, best regards and thanks for listening!

/DS

(The music was slightly updated the 7th May, with some new transitions).]]>

For PART 1, see https://soundcloud.com/davidjsvensson/long-instrumental-part1draft-ds2015

Why unfinished?

During the recordings, I have started to experience some quite annyoing ear problems (tinnitus), and must abandon studio work for some time. Only time will tell if I can complete this into what it was meant to be... a complex, mysterious adventure, restless, packed with energy...

Instead, I have decided to post an interim version. Accept my appologies if some sections appear a bit pre-mature; but be assured that I was very serious indeed about this piece, spending endless hours thinking about it ...

I can hear the final version in my head; with some more fluent transitions, certain parts more developed, more air, ...

Although there are some rough edges, I feel the music already has it's own life and deserves a preliminary release. So here it is: the first version of it; please enjoy or hate it!

Very few people will care about this kind of long instrumental, and I have no illusions that it will reach out to many. But I am proud of it anyway.

The music: the sound is a bit retro by purpose; almost everything was handplayed, aiming for some kind of 'live' feeling; I avoided certain modern options in order to maintain a certain primitive sound flavour. The composition is based around three major themes (annotated in part1), all of which occure plenty of times in different shapes.

The music was recorded using the StudioOne 2 software. Instruments were acoustic guitars (classical, and 6- & 12-string steel), electrical guitar, keyboards, midi-played bass and percussion, drum-loops.

The piece had many working names; "Oort Cloud", "Instrumental Grotesque", and even "Taurus IV" (hinting sources of inspiration... ). Until there is a finalized version, let's stick with the more generic title.

For some time now, I will focus on the classical guitar, possibly composing something for this wonderful instrument.

But I'll also keep looking for ways of completing the long instrumental ... exploring some of its main themes further, planning the final version. Or possible release a 3rd part.

Until then, best regards and thanks for listening!

/DS

(The music was slightly updated the 7th May, with some new transitions).]]> 1466425 no no Mon, 06 Apr 2015 18:24:39 +0200 2015-04-06T18:24:39+02:00 13:17 https://hearthis.at/davejsvensson-bv/long-instrumental-part1draft-ds2015/
For PART 2, see https://soundcloud.com/davidjsvensson/long-instrumental-part2draft-ds2015

Why unfinished?

During the recordings, I have started to experience some quite annyoing ear problems (tinnitus), and must abandon studio work for some time. Only time will tell if I can complete this into what it was meant to be... a complex, mysterious adventure, restless, packed with energy...

Instead, I have decided to post an interim version. Accept my appologies if some sections appear a bit pre-mature; but be assured that I was very serious indeed about this piece, spending endless hours thinking about it ... I can hear the final version in my head; with some more fluent transitions, certain parts more developed, more air, ...

Although there are some rough edges, I feel the music already has it's own life and deserves a preliminary release. So here it is: the first version of it; please enjoy or hate it!

Very few people will care about this kind of long instrumental, and I have no illusions that it will reach out to many. But I am proud of it, anyway.

The music: the sound is a bit retro by purpose; almost everything was handplayed, aiming for some kind of 'live' feeling; I avoided certain modern options in order to maintain a certain primitive sound flavour. The composition is based around three major themes (annotated in part1), all of which occure plenty of times in different shapes.


The music was recorded using the StudioOne 2 software. Instruments were acoustic guitars (classical, and 6- & 12-string steel), electrical guitar, keyboards, midi-played bass and percussion, drum-loops.

The piece had many working names; "Oort Cloud", "Instrumental Grotesque", and even "Taurus IV" (hinting sources of inspiration... ). Until there is a finalized version, let's stick with the more generic title.

For some time now, I will focus on the classical guitar, possibly composing something for this wonderful instrument.

But I'll also keep looking for ways of completing this long instrumental ... exploring some of its main themes further, planning the ultimate version. Or, possible release a 3rd part.

Until then, best regards and thanks for listening!

//DS

(The music was slighly updated, with some new transitions addded, //May 2015)]]>
For PART 2, see https://soundcloud.com/davidjsvensson/long-instrumental-part2draft-ds2015

Why unfinished?

During the recordings, I have started to experience some quite annyoing ear problems (tinnitus), and must abandon studio work for some time. Only time will tell if I can complete this into what it was meant to be... a complex, mysterious adventure, restless, packed with energy...

Instead, I have decided to post an interim version. Accept my appologies if some sections appear a bit pre-mature; but be assured that I was very serious indeed about this piece, spending endless hours thinking about it ... I can hear the final version in my head; with some more fluent transitions, certain parts more developed, more air, ...

Although there are some rough edges, I feel the music already has it's own life and deserves a preliminary release. So here it is: the first version of it; please enjoy or hate it!

Very few people will care about this kind of long instrumental, and I have no illusions that it will reach out to many. But I am proud of it, anyway.

The music: the sound is a bit retro by purpose; almost everything was handplayed, aiming for some kind of 'live' feeling; I avoided certain modern options in order to maintain a certain primitive sound flavour. The composition is based around three major themes (annotated in part1), all of which occure plenty of times in different shapes.


The music was recorded using the StudioOne 2 software. Instruments were acoustic guitars (classical, and 6- & 12-string steel), electrical guitar, keyboards, midi-played bass and percussion, drum-loops.

The piece had many working names; "Oort Cloud", "Instrumental Grotesque", and even "Taurus IV" (hinting sources of inspiration... ). Until there is a finalized version, let's stick with the more generic title.

For some time now, I will focus on the classical guitar, possibly composing something for this wonderful instrument.

But I'll also keep looking for ways of completing this long instrumental ... exploring some of its main themes further, planning the ultimate version. Or, possible release a 3rd part.

Until then, best regards and thanks for listening!

//DS

(The music was slighly updated, with some new transitions addded, //May 2015)]]> 1466426 no no Mon, 06 Apr 2015 18:20:00 +0200 2015-04-06T18:20:00+02:00 12:27 https://hearthis.at/davejsvensson-bv/the-cluster-of-warnings/
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.]]>
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.]]> 1466427 no no Tue, 30 Sep 2014 12:17:12 +0200 2014-09-30T12:17:12+02:00 5:00 https://hearthis.at/davejsvensson-bv/cambrianexplosion-byds2014/
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]]>
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]]> 1466428 no no Sun, 25 May 2014 17:06:20 +0200 2014-05-25T17:06:20+02:00 3:10 https://hearthis.at/davejsvensson-bv/desertification-guitarsplayedbydsfinal/
Although the entire guitar suite will not be everyone's cup of tea, and few will have time to listen to the entire piece, at least it is not an exaggeration to say that enourmous attention was paid to the details; the recordings took over four years and lots of material was discared.

As already stated elsewhere, every sound (including bass lines and percussions) was handplayed on the electric guitar and no sound processing was applied whatsoever.

I very much appreciate the comments (and 'likes' & 'reposts'); thanks!

(A sligthly edited version was uploaded the 11th July 2013).

See also
https://soundcloud.com/davidjsvensson/guitarsplayedbydavidsvenssonma
https://soundcloud.com/davidjsvensson/guitarsplayedbydavidsexperimen

Thanks for listening, //David Svensson, July 2013

]]>
Although the entire guitar suite will not be everyone's cup of tea, and few will have time to listen to the entire piece, at least it is not an exaggeration to say that enourmous attention was paid to the details; the recordings took over four years and lots of material was discared.

As already stated elsewhere, every sound (including bass lines and percussions) was handplayed on the electric guitar and no sound processing was applied whatsoever.

I very much appreciate the comments (and 'likes' & 'reposts'); thanks!

(A sligthly edited version was uploaded the 11th July 2013).

See also
https://soundcloud.com/davidjsvensson/guitarsplayedbydavidsvenssonma
https://soundcloud.com/davidjsvensson/guitarsplayedbydavidsexperimen

Thanks for listening, //David Svensson, July 2013

]]> 1466429 no no Sun, 30 Jun 2013 23:13:34 +0200 2013-06-30T23:13:34+02:00 13:47 https://hearthis.at/davejsvensson-bv/random-fuge-guitarsplayedbydsepilogue/
Recorded in July 2011.

//David]]>
Recorded in July 2011.

//David]]> 1466430 no no Thu, 23 May 2013 16:39:52 +0200 2013-05-23T16:39:52+02:00 4:13 https://hearthis.at/davejsvensson-bv/core-guitarsplayedbydsprelude/
//David ]]>
//David ]]> 1466431 no no Thu, 23 May 2013 16:18:13 +0200 2013-05-23T16:18:13+02:00 1:58 https://hearthis.at/davejsvensson-bv/glaciation-guitarsplayedbydssection1/
Every sound, including bass lines and percussion, was handplayed, and particular care was taken to archieve certain live feeling.

Its structure is classically constructed, in the sense that there is lots of self-references and variations of earlier occuring themes.

Thanks for listening, and for the posts/likes/reposts! //DS 2012]]>
Every sound, including bass lines and percussion, was handplayed, and particular care was taken to archieve certain live feeling.

Its structure is classically constructed, in the sense that there is lots of self-references and variations of earlier occuring themes.

Thanks for listening, and for the posts/likes/reposts! //DS 2012]]> 1466432 no no Thu, 04 Oct 2012 13:45:37 +0200 2012-10-04T13:45:37+02:00 13:20 https://hearthis.at/davejsvensson-bv/thunder-guitarsplayedbydssection2/
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

I consider this piece to be my most advanced piece to date (Oct 2015).

/DS]]>
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

I consider this piece to be my most advanced piece to date (Oct 2015).

/DS]]> 1466433 no no Sun, 30 Sep 2012 10:26:15 +0200 2012-09-30T10:26:15+02:00 8:00