sir Was

About

" A pop auteur at the peak of his powers "

Self-doubt can be a crippling affliction. The struggle is real, and Swedish musician Joel Wästberg knows this all too well. Despite being a talented saxophonist and composer, and playing and touring with the likes of José González, it took Wästberg ten years to pluck up the courage to release a solo album – as sir Was – based on sketches and ideas he’d long been stockpiling. That record – 2017’s ‘Digging A Tunnel’ – was a lo-fi gem of depth and subtlety, and a cult hit. Two more records since, particularly his latest, ‘Let The Morning Come’, have cemented a reputation as an eclectic pop auteur not afraid to chart a unique course.

A somewhat more introspective, contemplative record, his new collection offers an intriguing listen. There are slow-jam grooves, lush melodies, gorgeous hooks, and a serene sense of calm. A true sonic explorer, his work has always borrowed elements from the disparate genres and styles he grew up loving – electro, hip hop, jazz, pop, indie, rock, and soul. Yet in smoothing off some of his music’s rough edges and more outré flights of fancy, he’s hit upon a more relaxed, studied sound. More confident even.

There’s a smoothness and polish to his pop now, all easy grooves and stylish synth washes. His penchant for neat details remains though, whether that’s a gorgeous piano intro, squelching electro bass lines, or quirky drum beats – all clearly the work of someone fully at ease with their singular vision. Wästberg might have taken a while to get going as a solo artist, but he’s hitting his stride now – we’re just the lucky beneficiaries.