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1. DESERTIFICATION ([email protected])


With this long composition (all of it variations on motifs from the other pieces) the entire guitar suite must now be considered completed. This piece explores several of the motifs used in the other tracks, in particular the CORE THEME. 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 Thanks for listening, //David Svensson, July 2013

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*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: 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.

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3. Guitar Structures No. 1 - By David J. Svensson

Guitar Structures No. 1 - By David J. Svensson

STRUCTURES. A new series of pieces based on the classical guitar (but recorded plugged-in). Composed and played by DS 2015. It is a work of variations, with some core elements re-appearing multiple times (but evolved, and differently combined). Meditative, explorative, and slightly abstract. Created through a gradual weaving of different themes, growing larger structures ... It is likely that there ultimately will be a cycle of five, six, pieces of this kind. DS //May 2015

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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 (, 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' (, 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

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5. THUNDER ([email protected])

THUNDER (GuitarsPlayedByDS@section2)

The MAIN part of the guitar suite GPBDS (with every sound including bass lines and percussion-sounds being handplayed on the electric guitar). Particular care was taken to establish a live feeling, and archieving a complex structure. I am satisfied how the most important theme enters at 1.45, and peaks at 2.24-2.57. After some experimental sections, its leads into the 2nd half, more slow and moody. At 5.09, it gets slightly darker, and contemplating. Many of its themes re-appear in slightly different forms in the "FINALguitarsPlayedByDavidSvensson". /DS

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6. Guitar Structure No. 2 - By David J. Svensson

Guitar Structure No. 2 - By David J. Svensson

It is a pleasure to introduce the 2nd part of the GUITAR STRUCTURES series; a work of variations, with some core elements re-appearing multiple times, but evolved and differently combined, a gradual weaving of ideas... 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...

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WRITTEN AND PLAYED BY DAVID J. SVENSSON 2016-2017. INSTRUMENTS: ELECTRIC AND ACOUSTIC GUITARS, KEYBOARDS, DRUMPAD, DRUM LOOPS. The music emerged as a spinoff from work on a longer instrumental suite with working name BEST OF 2 WORLDS, and shares the same musical DNA. In particular, two core ideas from BO2W are varied here, one appearing in many forms on the classical guitar while the other one is carried by the synths and futher developed in the electric guitar solos towards the end. It is unknown when (if at all) the longer track BO2W will be released. Sometimes, draft pieces decides to stay in the pipe, forever... At present time, around 10 minutes have been recorded. It is a bit like taming wild animals, I guess... unpredictible outcome, no way to tell when further progress might want to appear... YRS//DS

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8. Memories - Tolubai feat. David Svensson

Memories - Tolubai feat. David Svensson

MUSIC WRITTEN BY TOLUBAI. KEYBOARDS: TOLUBAI. GUITARS: DAVID SVENSSON. For a long time now, I have very much enjoyed the music by 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: 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:

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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

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As a sign of life (while still working on something else), releasing a take-out from my This part (of the considerably longer full track) is my personal favorite section; please allow me to publish it as a 'single'. Composed and Played by David J Svensson 2016. Keyboards, Organ, Electric and Classical Guitars, Drum Pads, Drum Loops. (I changed the title of this track to the current one - wasn't satisfied with the first one, it didn't reflect my intentions fully).

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Probing the landing site in wonderful total silence. Recieving data, odd features visible. ____________________________________________________ WRITTEN 2016 BY DS IN COLLABORATION WITH TOLUBAI Keyboards, Electric Guitars, Drums Loops. Further sections will follow. (Link to TOLUBAI's excellent tracks:

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

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

Mike Hilton ~ Fender Stratocaster. David Svensson ~ Acoustic (classical & 12-string) Guitars, Bass- and Synth-guitar. Arr by David Svensson. Mixed and produced at PuppyWolf Studios. Cover-art design, Mike Hilton. ****************** Text by DS below: Perhaps one of the most melancholic and beutiful pieces I have ever heard, the original Let There Be Light, the opening of Oldfield's epic 'The Songs Of Distant Earth'... I always loved it, despite having listened to it many many times.. The original can of course not be improved upon, with its perfect mix of magnificently played electric guitars and a very delicate synth arr. Please listen to it. Instead, consider this an improvised guitar-version, perhaps a slightly more 'human' version, if that is the appropriate term (keeping any little minor inconsistency as if a true live version); a celebration of a wonderful original. I am very pleased indeed that Mike 'Puppywolf' Hilton joined me in this experiment - his trademark crystal-clear electric guitar voice is by now well-known to many of us, always played with enormous care and feeling, every little note... Please take a look at @puppywolf for many excellent tracks. Although I never met Mike H. in the real life (the entire planet is in between us!), I nevertheless surely count him as a good friend. And why not, what really counts (as I see it) is how much fun, inspiration and mutual understanding there is on various topics dear to us. Lots of very rewarding discussions over the years now, on music and life in general ... Now, imagine one day, after having travelled around the world, finally ending up in PuppyWolf's garden, a warm evening, drinking something cool, "hey, is that your guitar?", tuning ... Opening up with the Oldfield chords, and Puppywolf soon follows ... I would imagine, this is what it could sound like :) I didn't make these sessions easy for him; in the middle of the work, my main computer and recording setup chrashed [bad luck, or just incompetence?], with a number of raw files deleted, leaving us with some tough options. Hopefully we nailed it anyway... And, if you happen to not like it, make sure not to blame Mr. Oldfield for it... //DS Sept 22, 2016

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13. Mediterranean Sea

Mediterranean Sea

FROM THE ARCHIVES, another OLD recording; what to do with it... (Delete? Upload?) 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

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14. Rejected Dissonances

Rejected Dissonances

Please Play This In The Fitness Centre - Always Composed & Played by DS; Guitars, Keyboards, Organ + DrumLoops. Actually recorded in 2014, and for a while I was planning to expand it to something longer. But other pieces took priority, and I forgot about it. During the last months I have experienced some computer instability, lost functionality and files - and, finally, my main machine chrashed seriously early September. I don't think I can ever bring back the raw files to life again, but the mp3 survived. Actually, it was a private draft at SC, and I decided to let it live as a public track. Very few will continue to listen after the disastrous dissonances taking place early on - rejected by most, and why not? We can't all have the same taste! DS //Sept 2016

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15. OMMA CONTRAPUNCTUS PROJECT (DRAFT VERSION - variations over a theme by Oldfield)

OMMA CONTRAPUNCTUS PROJECT (DRAFT VERSION - variations over a theme by Oldfield)

VARIATIONS OVER A THEME BY M. OLDFIELD ["OMMADAWN"]. DRAFT VERSION (TO BE COMPLETED 2017). INSTRUMENTS: classical guitar and two 6-stringed steel guitars, electric guitar, and keyboards (= organ, bass, kalimba, flute, VST voices; drums played by hitting muted guitars & drum pad). The classical composers did this all the time: taking a melody by someone else, and composing something new out of it - Variations by a theme by X. E.g., Johannes Brahms made a wonderful 25-part piano-suite based on a theme by Handel (…_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

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16. GLACIATION ([email protected])

GLACIATION  (GuitarsPlayedByDS@section1)

This is another track from the suite 'Guitars Played By DS'. 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

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17. +++Taurus IV+++

+++Taurus IV+++

Concieved, composed and recorded in Vienna and Gothenburg 2014-2015. Reworked 2018 into what it was intended to be: a monster. INSTRUMENTS: - Electric Guitars. - Acoustic Steel (6s- and 12s) Guitars, & Classical Guitars. - Keyboards, Organ, midi-played Bass. - Percussion, Drum Pads & Drum Loops. Inspired by other animals.

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18. Long Instrumental PART2(draft)-DS2015

Long Instrumental PART2(draft)-DS2015

Unfinished (but updated) version of a progressive LONG MULTI-INSTRUMENTAL, in two parts. Conceived, composed and recorded in Vienna and Gothenburg 2014-2015. For PART 1, see 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).

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