Expansively ambient with limpid, folk-like melodies, this could be ECM getting it together in the country. “I listened inside, and it sounded like this,” Ljunggren explains, and the Swede’s collaboration with Icelander Sverrison, whose bass isn’t prominent, has the Zen focus that statement suggests. ‘Palace Prelude’ begins with stately acoustic guitar, becoming pensive then wistfully pressing on in ‘Leading Somewhere’, as further layers of guitar smokily weave.

‘Bottomless Siestas’ reveals Ljunggren’s ambition, as ambient synth waves ripple, lonesome steel guitar wails and piano and piano-like bass sounds mesh. ‘Codimar’ could be an AOR ballad, till the keyboard adopts a jagged clubland rhythm, pounding closer as synths peak and fall into comedown languor. Sverisson picks his way through thick electronic textures in ‘Streams’, then ‘Vestegnsromantik’ adds classical violin sounds. Ljunggren still finds room for the likes of ‘Olive’ which, with its mandolin-like, country simple guitar picking, meditatively settles on a melody and mood. Floreana’s arc accrues sounds into a lush yet mellow maximalism, melting borders before settling back into the resultant, mild utopia. This is a Scandinavian romantic’s music, both folk and baroque.