Sven Wunder – Daybreak

Piano Piano

Swedish composer Joel Danell has been trading under the name of Sven Wunder since 2019’s Doğu Çiçekler (Eastern Flowers) and each release seems to refine his romantic take on widescreen instrumental music, touching as it does on soul, jazz, yacht rock and soundtracks.

What makes his releases stand out from the crowd is a judicious use of talented friends  bringing all manner of instrumentation, as well as the Stockholm Studio Orchestra, who layer the lushest of strings over his delightful compositions.

There is something of the Bond movie in opener “Setting Off” as you can almost see Roger Moore cruising through St Tropez against smooth panpipe and vibraphone. The simple elegance of the bass, the drawn sweep of the strings; it is the very definition of lush and it is this romantic atmosphere that pervades the album. There might be a little more momentum as on “Misty Shore”, which is bass-driven and revels in rimshot crack; but the sheer variety of instruments and the combinations that Sven uses are what makes the album such a compelling listen.

There is xylophone paired with a strange blunt-sounding flute on the tactile, jungle infused “Take A Seat”, while a sparkling reverb guitar parries waves of vibraphone on “Daybreak”, which delights in a South Pacific feel; you can almost see the clear water leading out to a yacht moored off the coast and the feel of sand inbetween toes. This is music that is as much about allowing you to paint a picture in your mind as it is about Sven’s desire to update the likes of Ron Goodwin or Les Baxter with the addition of modern jazzy touches or even ’70s yacht rock influences. Music seems to be a big melting pot and nothing is out of the question.

As well as the long sweeps of orchestra and the percussive rhythms, there is much to be heard in the background. Little percussive textures of guitar as on “Resting Place” or the slow drag of a hi-hat, as on “Still Moorings”, give a counterpoint to the major themes and everywhere it feels as though he has rolled the dice to see which instrument accompanies which. The bass on “Scenic Byway” is rich like chocolate and a perfect bed for the cooing strings, while even the more introspective pieces like “Leeward” are caught up in the broader atmosphere.

The other nice things is the use of motifs that appear again and again in a variety of forms throughout the album. They feel like hooks that draw you further into this magical world, and you can almost see yourself in some sparkling landscape, a cool drink in your hand surveying some forgotten vista as the next piece waits to whirl you off somewhere else.

Although sometimes that place might be  slightly meaner streets, but it is all relative; the strings really do explode on “Warmer Air” and the electric piano and scuffed percussion give it a touch of blaxploitation; whereas the pairing of slow electric piano and what sounds like a Wurlitzer on “Deep Sea” put the brakes back on with the most languorous of flute solos materialising unexpectedly.

This is an album that really does take the listener on a journey or perhaps even a series of journeys; and even if things take a slightly darker turn, as on the closer “Liquid Mountains”, they are still journeys we undertake willingly and ones that easily move us. It is an impressive feat and on the strength of this, it won’t be long before Sven Wunder is the darling of Hollywood.

-Mr Olivetti-