Sven Wunder interview
Sven Wunder’s musical journey stands between Anatolian rock and European jazz-funk with ponderous drum patterns, groovy organs, far-out synthesizers, enchanting Saz and impetuous bass lines.
‘Doğu Çiçekleri’ completely blew my mind. I haven’t found much information about you so here’s a nice opportunity to discuss your music. Would you like to talk a bit about your background?
Sven Wunder: I am a Stockholm based composer with a background in jazz. A big part of my work is writing music for film and TV.
How do you usually approach music making?
Making music is my profession and a big part of my everyday life. Usually I write music on an instrument, a piano or a guitar for example. My approach is different for different projects, but it usually start with an idea that could be a melody. Sometimes everything comes at once and sometimes it takes longer.
Can you share some further details how ‘Doğu Çiçekleri’ was recorded and how would you compare it to your latest album, ‘Wabi Sabi’?
Both albums where made with quite similar recording techniques and similar setup of musicians. I record some instruments in my studio and sometimes I record in other studios, depending on the instrument. The big differences between the two albums is the instrumentations, the process between both been quite similar (and made quite shortly after each other).
When did you begin playing music? What was your first instrument?
I began playing the double bass and playing jazz at a young age, but have been playing a lot of piano too. My father is a jazz musician so I always been playing and had music in my life.
Where did you record it? What kind of equipment did you use and who was the producer?
Both albums has been recorded in Stockholm, using both vintage and modern gear, everything from tape reels to software to record the music. I am the producer, but also work with a partner for mixing and producing these albums.
What are some of the artists that influenced you?
You can listen to some of our mixtapes or playlists online to get an idea. The span reaches from traditional folk music from the Middle East and East Asia to modern jazz, funk and soundtracks from the 60s and 70s.
Who is behind your album artwork?
It’s my partner who do all the artwork for my records. We run Piano Piano Records together.
Are you involved in any other projects at this point?
Yes, I’m currently working on a few other projects.
How are you coping with the current work situation?
I’m glad I’m not a touring musician, since my work is being done in the studio haven’t I been that affected by the ongoing situation fortunately.
What are some future plans for you?
I released a new single and then I’m working on the third Sven Wunder Lp that should be ready sometimes 2021 if everything goes as planned.
Let’s end this interview with some of your favourite albums. Have you found something new lately you would like to recommend to our readers?
Here’s a few of the records I’m listen to the most at the moment:
The Swedish Modern Jazz Group – ‘Sax Appeal’ (Barben Records; 1960)
Dorothy Ashby – ‘The Rubáiyát Of Dorothy Ashby’ (Cadet; 1970)
Lee Konitz with Warne Marsh (Atlantic; 1955)
Chet Baker – Chet Baker – ‘Motivo Su Raggio Di Luna / Il Mio Domani’ (RCA Victor; 1962)
Thank you. Last word is yours.
Thank you kindly for this and for taking time to listen to my records. Sven Wunder
Klemen Breznikar
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