SVEN WEISEMANN - XINE (Wandering)

Berlin-based Sven Weisemann has an ear for the dramatic. In “Xine,” his debut album and the first full-length feature produced by Wandering, he joins piano and string arrangements in a down-tempo, emotional foray into modern classical music. It’s an ambitious and confident debut album, one that pulls the listener into an engaging emotional soundscape. 

“Xine” is mostly built around a soft and contemplative piano, often mixed with a string accompaniment to create a sense of space and depth. As such, drum programming generally takes a background role. This may come as a surprise to those who are familiar with Weisemann’s dubstep and deep house tracks with the Mojuba record label. But the relegation of percussion to a background role deepens the sense of open space, through which Weisemann weaves wistful melodies that are beautiful in their restraint. And this allows him to create an album with a musical tone that sits at the boundaries of modern classical, dub techno, and deep house.    

At its best, “Xine” features moving tracks that tug at the emotions. The interaction between the piano and cello in “Xine IV – Lyra,” with percussion filling out the background, creates a sense of melancholy and nostalgia. “Xine VI – Harbor Lights,” further develops this melancholic atmosphere through the use of a wistful, repetitive piano line. I found “Harbor Lights” so deeply moving that toward the end I ripped off my headphones, ran to my wife, and started apologizing profusely without even knowing why!  

Other times, strings take center stage to conjure tales of grief, loss, and longing. The majestic yet surprisingly brief “Xine XI – Swan of Desire” and “Xine XVIII – Love in Vein” both feature powerful string backgrounds that so brim with emotion that they feel well-suited for use on the silver screen.  

Not all of the tracks, however, capture this feeling of beauty or loss. At times, for instance with “Xine XV – SUNA’s Flow,” superfluous vocal samples do a disservice to what is otherwise a pretty background. Moreover, various tracks feel like a rehash of an earlier mood. “Xine,” in short, is a bit too long, as many of the album’s 20 tracks feature similar sounds and create the same basic feeling. Weisemann, I feel, could have benefited from the advice of my historian mentor, who often told me to be prepared to cut some of my best work for the sake of clarity and cohesion. Had he cut a number of songs, his album would possess a more complete and cohesive musical narrative. Nonetheless, the attentive and patient listener will find much to take away from this album. 

In the end, “Xine” rewards listeners with wistful tracks that tug at the heartstrings. It certainly tugged at mine. I can honestly say that Weisemann is the first musician who made me apologize to my wife for doing nothing wrong! Perhaps that is the most appropriate review I can give of this beautiful album.

 Jeremy Yellen