Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

Inland Delta contains nine new musical pieces recorded from 2022 to 2023, featuring mainly improvised performances on newly restored vintage keyboards.

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Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

Inland Delta contains nine new musical pieces recorded from 2022 to 2023, featuring mainly improvised performances on newly restored vintage keyboards.

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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
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CD!

Substrata was the third studio album by the Norwegian electronic artist Biosphere, released 25 years ago by All Saints Records in London.
In 2016, Pitchfork ranked it at number 38 on its list of the 50 Best Ambient Albums of All Time.
Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996.

David Stubbs´review of the original album in Melody Maker ,July 12th 1997.

Biosphere, aka Norwegian Geir Jenssen, is transmitting from a cold, polar outpost of the imagination. "Substrata"
is the best ambient album I've heard in an ice age, an album of terrifying, desolate and all-enveloping beauty, the
music of a man who's stared too long and too hard at the Northern lights, a music of distant rumbles, tremors
underfoot, stray radio signals, yawning chasms and indistinct, grainy images in the half-light when the mind begins to play tricks. "Poa Alpina" reminds me of recent, frightening TV footage of vast chunks of iceberg cracking and falling away into the sea under the duress of global warming. As for "The Things I Tell You", imagine what Oasis would have sounded like had they been born Eskimos. "Sphere Of No Form" is shot through with a frantic peal like the Mayday song of the world's last whale and, best of all, "Kobresia" looms with a vast, mournful, symphonic motif, like the ghost of the Titanic. Chill out has never been this chilling.

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Substrata was the third studio album by the Norwegian electronic artist Biosphere, released 25 years ago by All Saints Records in London.
In 2016, Pitchfork ranked it at number 38 on its list of the 50 Best Ambient Albums of All Time.
Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996.

David Stubbs´review of the original album in Melody Maker ,July 12th 1997.

Biosphere, aka Norwegian Geir Jenssen, is transmitting from a cold, polar outpost of the imagination. "Substrata"
is the best ambient album I've heard in an ice age, an album of terrifying, desolate and all-enveloping beauty, the
music of a man who's stared too long and too hard at the Northern lights, a music of distant rumbles, tremors
underfoot, stray radio signals, yawning chasms and indistinct, grainy images in the half-light when the mind begins to play tricks. "Poa Alpina" reminds me of recent, frightening TV footage of vast chunks of iceberg cracking and falling away into the sea under the duress of global warming. As for "The Things I Tell You", imagine what Oasis would have sounded like had they been born Eskimos. "Sphere Of No Form" is shot through with a frantic peal like the Mayday song of the world's last whale and, best of all, "Kobresia" looms with a vast, mournful, symphonic motif, like the ghost of the Titanic. Chill out has never been this chilling.

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Iconic Norwegian producer and composer Biosphere follows up his evocative 'Angel's Flight' release with a new album set for release early in 2022. Shortwave Memories is an album inspired by the post-punk electronic music of the late 70's and early 80's, especially the productions of figures like Martin Hannett and Daniel Miller. "The last few Biosphere albums have all been made using samples and software, but Shortwave Memories is a return to vintage analog hardware from the late 70s and early 80s. Most of these instruments do not have any presets or memory storage, so all the sounds were programmed from scratch. The idea was not so much to make music that sounds like it was written in the same period. It's more like what would happen if I had the chance to use the same instruments, and applied the same meticulous attention to detail as the producers mentioned above." Presented as a continuous sonic journey, this stunning record unequivocally manifests a world of it's own and al.

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Iconic Norwegian producer and composer Biosphere follows up his evocative 'Angel's Flight' release with a new album set for release early in 2022. Shortwave Memories is an album inspired by the post-punk electronic music of the late 70's and early 80's, especially the productions of figures like Martin Hannett and Daniel Miller. "The last few Biosphere albums have all been made using samples and software, but Shortwave Memories is a return to vintage analog hardware from the late 70s and early 80s. Most of these instruments do not have any presets or memory storage, so all the sounds were programmed from scratch. The idea was not so much to make music that sounds like it was written in the same period. It's more like what would happen if I had the chance to use the same instruments, and applied the same meticulous attention to detail as the producers mentioned above." Presented as a continuous sonic journey, this stunning record unequivocally manifests a world of it's own and al.

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Contact: [email protected]More

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Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings.

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Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings.

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Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.
"The Senja Recordings" is a collection of various outdoor recordings and studio improvisations recorded on the island of Senja, Arctic Norway, between 2015 and 2018.

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A remastered version of Shenzhou on triple vinyl and double CD with the bonus album"The Samphire Tower.

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GARDENIA is an existing land located at the Limpopo province of South Africa, right at the border with Botswana. The place's real name is Mmabolela and it's a private nature reserve covering 6500ha of subtropical savanna and part of Limpopo River. In November 2019 I had a chance to visit the location and participate in an annual residency for composers and sound artists called 'Sonic Mmabolela', initiated and curated by Francisco López. We lived in an isolated property in the middle of savanna having a unique opportunity to exist in undisturbed touch with the African wilderness. For the past decade or so, Polish musician Michal Jacaszek has been exploring a new, resolutely modern chapter in Eastern Europe's long, storied love affair with classical music. His creations are painstakingly crafted collages of electronic textures and baroque instrumentation. All the natural sounds later used to create Gardenia were captured there — during longtime recording sessions over the virgin interior of Mmabolela Reserve. The album's field recording content was selected from several hours of birdsong, calls of frogs, insect noises, sounds of trees, bushes, grass as well as non-living natural elements like stones or shells. These field recordings were later digitally processed and used as part of 9 musical arrangements. However the recording sources and the location of Gardenia is defined, it was not my intention to document a South African natural soundscape nor create any other kind of strict concept album.

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2022 Reissue of Fennesz - Black Sea. Repressed on 2 x 10" Vinyl

Christian Fennesz takes his time. He's been a busy guy all through this decade in terms of collaborations, live records, remixes, and so on, but he's only released a few proper albums under his surname, and each has been brilliant. Just before the new millennium he released the 1999 album Plus Forty Seven Degrees 56' 37" Minus Sixteen Degrees 51' 08". It took the blissed-out sense of surrender that My Bloody Valentine specialized in into a harsh and assaultive realm, and the album can seem downright terrifying if you listen to it in the right mood at the proper volume (loud). 2001's Endless Summer established itself immediately as an experimental electronic music classic, and its unique mixture of melody, song structure, and processing has loomed large over the decade. And the eclectic 2004 release Venice solidified the idea that Fennesz was at the very top of his game, developing his keen compositional sense and ear for texture in parallel. Well, a new Fennesz album, Black Sea, is on the way (hopefully) next month, and this lead track certainly keeps expectations very high. Beginning with some of Fennesz' trademark neo-industrial gurgles, it folds in bits of guitar and strings rather beautifully, creating a cluster of sound that trembles, seeming to wait for something. And that something moves in gradually in the form of a massive cloud of distortion, a fine white mist of harmonics mixed with a dark undercurrent of rumbling bass. The tension between these elements is so well balanced, each individual element remaining in the mix even as the sound field becomes impossibly dense, that it's no surprise that it takes a while to get it just right. And as it begins to draw down about five minutes in, you can't help but wish that another full Fennesz album was following behind it. Soon." Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. "Imagine the electric guitar severed from cliche and all of its physical limitations, shaping a bold new musical language." - (City Newspaper, USA). His lush and luminant compositions are anything but sterile computer experiments. They resemble sensitive, telescopic recordings of rainforest insect life or natural atmospheric occurrences, an inherent naturalism permeating each piece.

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Recorded in Berlin at Studio Schwedenstrasse one day in June 2010. Recording Engineer: Marco Paschke. Mixed and Mastered by Daniel Karlsson in Stockholm at Elektronmusikstudion. Mika Vainio - Electric Guitar, Processing, Metallic Percussion. Joachim Nordwall - Electronics, Electric Bass Guitar, Metal Objects, Hammond Organ, Vibraphone.




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