Nick Quan's song " Heavensafe," which runs big feelings through a bigger pedalboard, features a funny declaration: "I've turned to slop again." This past August, when the extraordinary guitarist released Warbrained, shoegaze might have been saying so, too. By then, its latest-and most puzzling-progeny was " cloud rock," a budding vanguard that subverted its central extremes: numbness first, and noise, if at all, second.
Each album by Swedish composer Sven Wunder masterfully opens a door into a different sonic mise-en-scene, from the East-meets-West psychedelia of Eastern Flowers, to the painterly restraint of Wabi Sabi or the midnight-jazz hush of Late Again. Daybreak could be his most radiant yet: a slow-blooming, analog-toned instrumental voyage that charts the emotional arc of a single day from pre-dawn shimmer to golden hour contemplation. Throughout, recurring musical themes appear in multiple instrumental, rhythmic and textural guises, almost like sunlight refracted through the waters of Lake Vänern.