If I can find the words to fully describe Sven Wunder’s latest release, Ultramarine, I will be proud of myself. Even though I think an artist like Sven is happy not to be completely boxed up. Sven has a background in scoring for film, which can be heard. Sven released this song on his label, Piano Piano Records. He is very much part of the current vinyl movement, making most of his tracks into vinyl records. His father was a jazz drummer, and he grew up around that, which can be heard. He also has a deep appreciation for traditional sounds, implementing traditional instruments from all around the world into his music, which can be heard. He has previously released records influenced by different traditions. Eastern Flowers (traditional Turkish) and Wabi Sabi (Japanese jazz) are some of my favorites.

Some of Sven Wunder’s musical influences also include artists such as Lee Konitz, Piero Umiliani, Erik Satie, Les Baxter, Arthur Verocai, Grant Green, Wes Montgomery, and Ryuichi Sakamoto. I think a lot of people would classify this music as “easy listening.” There are no sharp, screechy melodies that peak your attention, no rumbling 808s that shake your chest, or expressive vocals swooning your heart. Just a nice flow of beautifully orchestrated instruments, hitting like a cool summer breeze on a hot day. Except the second song on the single. That one is a bit more rumbly. The first track, Ultramarine, features a mix of snappy drums, cinematic pads, xylophone, and distorted guitar. I think for your own sake, it is better to just go and listen to it. The second song is a bit meaner but has a similar soundscape. It features an arpeggiated synth pattern that makes it sound like the soundtrack to a boss battle. All in all, Sven manages to capture a huge amount of interesting orchestration and sound choices for just two singles. There is a huge difference between “quirkiness for quirkiness sake” and actually knowing what you are doing. Sven knows what he is doing.

Sven has a large collection of vinyl records and likes to DJ with them. I would suspect that he listens to quite a lot of music. Now, as obvious as this seems, it can help build an important point. One of the biggest jobs Sven and many other record producers have in the studio is listening. As you listen to more records, you develop a deeper intuitive feeling for what you think sounds good. This is not something that is a question of intellect but rather a feeling, based on years and years of experience in listening. You can tell that a lot of work has been put into choosing the right players, instruments, and mixing/mastering techniques.

In the country of Sweden, there are four seasons, and the difference between them is quite drastic. In the winter, it gets really cold, and in the summer, it can get quite hot. A lot of people in this country, including Sven Wunder, are affected by this change in weather each year. He has previously discussed how the changing seasons influence his music. From autumn jazz to the vibrant sounds of samba and Brazilian music in spring. As we know, every type of setting has a perfect soundtrack, and when the scene keeps changing, you would do well to change the soundtrack too. I usually think about where I could play a certain type of song. The charm in Sven’s songs is that they have no specific place where I would most rather play them. They go well anywhere because they have a perfect mix of slipping by unnoticed and still enhancing the atmosphere. There are so many more words to say about this multifaceted artist, but I encourage you to just go and give it a listen.

Author: Peter Källman

Peter Källman is a writer from Sweden who loves playing in bands, writing reviews and going to live shows!