Photo of the band by Helene Christensen
 

Introducing SVIN (2022)

Danish Music Award

“Introducing SVIN” just won a Danish Music Awards Jazz in the Category “Experimental album of the year”.

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About

SVIN is an avant garde rock band based in Copenhagen, Denmark. The band has made their mark on the international music scene since debuting in 2011 with the album ‘Heimat’. After consolidating the current line-up, SVIN released their 5th album ‘Virgin Cuts’ in 2018. The album features music that drags the listener into a sonic loophole between noise-infested rock, drony landscapes, new age minimalism and dusty afro-tripping, drawing on heavy inspirations from nature, folklore, ceremonial music and avant-garde.

SVIN has performed at festivals such as Roskilde Festival, Eurosonic and by:Larm and has during the recent years toured extensively all over Europe, Russia and the Balkans. The band is a part of the programme “The Young Artistic Elite” from 2019 - 2022 supported by The Danish Arts Foundation. In 2019, SVIN was commissioned to compose music for the contemporary ensemble, Århus Sinfonietta, which premiered at Aarhus Festuge, and in January 2022, the music from this commision was released on the album ‘Elegi’.SVIN’s new and seventh album ‘Introducing SVIN’ expands on the trio’s bricolage aesthetics by adding a higher degree of electronics to the studio production. This delivers a robotic, futuristic feel of man and machine interwoven in a simultaneously manually operated and techo-mechanic musical multiverse. The cyborg-ish jazz rock vibes circulate in an musical reality with the natural and digital domains continuously shifting role and meaning, a stance visually reoccurring in the glitchy album artwork shaped by Ana Vujovic.

Upon entering the studio, the new material was more unpolished than at prior sessions with more left to chance and the spur of the moment during the two recording sessions with producer Jens Benz (Iceage a.o.). New paths was tread and collabs emerged with renowned singer Bisse and his twisted chant on ‘Bøn’ and ditto Marie Eline Hansen’s (Traening a.o.) calmly-anxious speak on album closer ‘Dødsensangst’  As ever, SVIN hits the sweet spot between improvisation and structure, keeping enough elastic to make the music breathe, break and creating head space for the listener within the strange, soothing intersectional sounds that makes up ‘Introducing SVIN’.

Henrik Pultz Melbye: Sax/EWI/Clarinet/Keys

Lars Bech Pilgaard: Guitars/Keys

Thomas Eiler: Drums

Normally bands like this create their genius in the flickering shadows on the underground but SVIN have enough ammunition to go the whole hog and take the dark power onto the main stages.
— John Robb / Louder Than War
Mixing genres and stylistic freedom have always been the band’s strength, but at Virgin Cuts they seem to have reached a whole new level in their exciting explorations.
— Dawid Zielonka, https://www.laboratoriummuzycznychfuzji.com    
Anyone who believes that everything has been said in the field of post or instrumental rock should be borne in mind by SVIN’s fifth work, Virgin Cuts.
— Andreas Schiffmann, Musikreviews.de
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Discography

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Press

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The new album sees the band further pushing the envelope of just what they’re capable of, producing another enigmatic album experience that offers intense rushes and surprising calms.
— -Gareth Watkin, echoesanddust.com
SVIN at Radio FF stage (Sharpe Festival) was definitely one of the strongest concerts of the whole festival. Danish experimenters played a breathtaking concert.
— Musicpress.sk, Mária Lišková
They are an extremely powerful quartet, and with their latest album Virgin Cuts they are improvising more than ever before.
— Jens Trap, Spill Magazine
The thing I like most about SVIN is that, despite the passing of years since their first great album of 2011, with their releases, they have always gone towards an artistic crescendo.
I can guarantee that this album will become your next sound obsession.
— Bob Stoner, The Pit of the Damned
The music is magic — a repeating motif of clanging, chiming guitars and pounding percussion, punctuated by even more compulsive rhythmic patterns and the seething flow of poisonous riffs.
— No Clean Singing, USA