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Hi there,

Busy busy busy. We've been composing new music, played at Roskilde Festival and then we've decided to say "Go fuck yourself" to Spotify. (And we think you should do the same)

🌊 CARRIER

On September 14 we’ll be premiering our orchestral piece CARRIER featuring Århus Sinfonietta and Maya SB.

It’s our second time composing for Sinfonietta, but this time with a larger ensemble: 19 musicians including SVIN. And we’re pretty damn excited.

Visual artist Maya SB is creating both the visuals and lighting design. If you haven’t already seen her work, we highly recommend checking it out. This will be a truly immersive experience.

We’ve spent years developing this project and the last 10 months composing the music. Performing it at VEGA in Copenhagen on September 14th is a dream come true.

👉 Get your tickets now!

🎪 Roskilde Festival

Due to a last-minute cancellation by another act, our side project BISSESVINET was invited to play at Roskilde Festival, and what a ride it was.

Playing that stage on short notice was intense and beautiful. We loved every moment of it. Several people told us it was the best performance on Roskilde! (No shit!)

🎧 Fuck Spotify

We’ve recently decided to remove all our music from Spotify.

If you haven’t heard, Spotify’s CEO, Daniel Ek, (a very creepy guy) recently invested 600 million euros in AI military tech. A quick Google search will give you all the details, but the bottom line is this: we don’t want the pennies we earn from streaming to help fund warfare. That’s not why we started making music.

For a long time, we’ve been frustrated with how little artists are paid per stream on Spotify, and this was the final straw.

We are proud to be part of a growing movement leaving this platform, that now also are promoting AI bands other weird stuff.

Do you really want to support that??

We suggest buying our music on Bandcamp or streaming via Tidal or Apple Music, which pay almost three times more per stream than Spotify. We are in the process of uploading our music to Sleeve here. That means you will be able to listen to our music on Sleeve for only 15 DKK a month.

📱 Sleeve

For those of you who don’t know, we’ve joined Sleeve!

Sleeve is a platform for artists, where we can connect with you directly, without algorithms interfering like on other social media platforms. You can follow us there to get the latest updates and behind-the-scenes content.

If you feel like supporting us more directly, you can also subscribe for a small monthly fee to get access to unreleased demos and other exclusive content.

Being a band comes with expenses, and even a small contribution goes a long way in helping us create more music and content.

👉 Join us on Sleeve here

See you on the flip side.

Love ya!

/ SVIN

We are in the process of removing all our music from Spotify

Spotify is no longer a platform we wish to be part of.

Daniel Ek’s recent investment in AI-powered military defense was the final straw. We do not want our music associated with funding war or violence in any form.

On top of that, we’ve never made a cent from streaming. With the number of listeners we have, the cost of distributing our music to platforms like Spotify simply isn’t worth it.

Still, we’ve stayed - because there hasn’t been a better alternative. Yet.

If you’d like to support us, we encourage you to buy the music directly from us on Bandcamp, or stream it on platforms that offer better compensation to artists, such as Apple Music or Tidal - at least until something better comes along.

https://svin.bandcamp.com/

https://tidal.com/browse/artist/4122364

https://music.apple.com/dk/artist/svin/472672301?l=da

All the best,
SVIN

Hey,

We hope you're enjoying the summer!

We just found some old demos and wanted to share one that never got on an album. This one was inspired by the vibe in Ishøj, a suburb to Copenhagen where Henrik taught young people to play saxophone and clarinet. And thus, it was named Ishøj Afro.

On another note, remember to buy your tickets for our show at VEGA performing our latest work, CARRIER, together with Århus Sinfonietta and Maya SB on visuals

Tickets!

Enjoy!

On September 14th, SVIN & Århus Sinfonietta will perform SVINs latest work, CARRIER.
Maya SB will create visuals and light design for the 60 minutes long performance featuring a 19 people orchestra.

Carrier is about what we can’t always put into words, about those transitional periods in life where love becomes both a burden and a power.

With improvisation as its focal point and a visual universe that reflects the movements of the music, SVIN, Århus Sinfonietta and visual artist Maya SB create a work where the boundaries between genres, emotions and form dissolve. A concert that is not only to be heard, but felt in the body, in the heart and in the darkness behind the eyes.

Come see and hear for yourself.

Store VEGA • September 14th.

Get your tix now!

What an experience it was playing at Roskilde Festival two weeks ago.

We were asked to come play at Roskilde two days in advance, because of an unfortunate canecllatin by another band.

Pictures by Jens Raadal.

Midway through our set, there’s always that one person in the crowd—you know the type—leaning forward, tapping fingers, visibly trying to count along, figure out the rhythm, find the pattern. And every time, we smile to ourselves because, honestly? We don’t have a clue either.

A lot of new listeners spot the saxophone and immediately think, “Oh, this must be jazz.” But truth be told, it hasn’t really been jazz for a long time. People try to fit us into boxes, genres, and musical theories. But most of the time, we’re just layering sounds and textures in ways that feel natural to us—because it sounds great. Not because it fits neatly into a theoretical framework.

We get why people look for theory and explanations. But the secret behind our music is simpler (and maybe a bit more chaotic) than that: we don’t play to fit a specific genre, style, or time signature. We just make what we genuinely think sounds amazing.

Maybe that’s why it works—because we’re not chasing definitions, we’re chasing what feels real.

Have you ever experienced music that you loved precisely because you couldn’t quite define it?

We’ve been playing together since 2008—17 years now. Occasionally we stop and ask ourselves: Why are we still doing this? How come we’re still excited to step into the rehearsal room after all these years?

The answer is probably pretty simple: because it never stopped being fun. And we never stopped growing. Our band is truly collective: no one brings in finished ideas from home, and we rarely arrive at rehearsal knowing exactly what we’ll play. Instead, we jam for hours, bounce ideas around, record snippets—and, sure, we create tons of sketches that end up sounding awful. But that’s part of the deal.

It’s not a quick process. Honestly, it can sometimes feel incredibly slow and even frustrating. But that’s because we keep everything open, collaborative, and free. Songs rarely feel finished when we’re rehearsing; often, we only really figure them out when we play them live or hit the record button in the studio.

There’s always this moment on stage—when suddenly the song clicks and we think: “Ahhh, that’s what it’s supposed to sound like!” Other times, something magical happens in rehearsal, and we record it, but when we try to recreate it later, that special vibe is gone. Music is tricky like that: sometimes it sounds amazing in the moment and then mysteriously disappears the next!

Once upon a time, we enjoyed glamorous ten-day European tours, featuring world-class accommodations (someone’s couch), fine dining (the DIY vegan pot of tomatoes and lentils with no spices), and sophisticated financial compensation—often up to a princely €200. Luxury at its finest.

One of our fond memories was playing in Bratislava, Slovakia. We were supposed to sleep at the promoter's place, and just needed to check if he had read the rider that said we were allergic to pets. And he said, "oh, but I have rats" like it was the most natural thing. We somehow ended up in another apartment and asked the people there where we were supposed to sleep. He pointed to the hardwood floor and said, "There", like it was the most natural thing. We spent the night drinking, did some surgery with a razor blade on Thomas's head and ended up sleeping three people on a sleeping couch.

These days, however, even this illustrious lifestyle seems increasingly out of reach. Our beloved venues—charmingly gritty clubs, makeshift basement stages, and legendary DIY spaces—are slowly disappearing. What used to be accessible feels suddenly elusive. Add parenthood into the mix, and the logistics become nearly royal-level complicated.

Throughout, we’ve toured extensively across Europe, Russia, and the Balkans—always driven by passion rather than profits. But the slightly chaotic venues we love have grown scarce since Covid, and now even the once-abundant €200 paychecks have taken on a mythical status.

And even though touring looks different now, we’re not stopping anytime soon. Just give us a stage (or something resembling one) and we’ll be there!