Biosphere – Shenzhou

ive been raised on Patashnik, and i admit Substrata being a formative classic. but, shenzhou somehow beomes a Biosphere's favourite. From spindrift to Green reflections. it remains the most optimistic/hopeful biosphere work. Magical? whatever it means, the older I get, the more often i go to sleep listening to this one.
thank you GJ.

It was 2 months ago that I wrote that this album suffers from production-mastering issues, particularly in the bass area, as for the recording level, too silent to be manageable...... it seems that Geir did a great job and the 2017 remaster has cured those limitations, this is quite a step forwards for better sound, the question is "how does the vinyl version sound" ?????

To my view , this album suffers from production-mastering issues , particularly in the bass department , such a shame , since it is superb in atmosphere and ambiance . I hope the vinyl edition will be heavily remastered , together with a more manageable record level !!!

I'd take this piece on vinyl any day. This is one of my all time favourite records. Nothing quite compares to this beautiful and haunting masterpiece.

One of my very favorite albums of all time. I realized the other day (a hot day) that this would be the music I'd hear if I was stuck in a desert with few water. A slow repetitive melody for loneliness, a perfect music to slightly slip into madness. Imagine yourself lose conscience into the sand, dying, with a chance in a million that someone finds you. Imagine that you fall into a long quiet dream that involves an omnipresent sun and a mute old man.

Each Biosphere album has its own atmosphere. Microgravity sounds more aquatic to me, Cirque is more about the snow and the cave, Autour De La Lune (which means Around the Moon) is composed with bits of silence from the space.

Prior to doing a proper writeup on Geir Jenssen, I listened to all of his grandiose works. Twice. OK, maybe not all. Jenssen's discography does not only span albums under his most famous moniker, Biosphere. There is his debut album, The North Pole By Submarine (SSR, 1989) as Bleep; two volumes of The Fires of Ork in collaboration with Pete Namlook (Fax, 1993 & 2000); two releases with The Higher Intelligence Agency, Polar Sequences (Beyond, 1996) and Birmingham Frequencies (Headphone 2000); an album, Nordheim Transformed (Rune Grammofon, 1998), with Deathprod; and finally a collection of field recordings from Tibet, Cho Oyu (Ash International, 2006), under his real name. And that's just scratching the surface. However, after spending an entire week (!) revisiting Jenssen's contributions towards the evolution of ambient sound as we know it today, I settled picking Shenzhou for this writeup. That one, my friends, is a masterpiece. Shenzhou explores more than just dark atmospheres and loop based hypnotic soundscapes. Here Jenssen does something many musicians have tried to accomplish - use classical music as the main ingredient, but without being too overbearing, obvious, or just for its mere sake. In Shenzhou, Jenssen constructs haunting environmental passages based on orchestral works by Claude Debussy, La Mer (The Sea) and Jeux. During the beatless layers of lush pads, deep sonic bass, and dusty vinyl samples of strings and woodwinds, Jenssen builds on meditative templates inflicting a trance-like state for the mind relying on its pattern recognition capabilities. The subliminal waves of euphoria wash over the timeless expansion of sound throughout the universe of the void. The subtle contributions of Jenssen's own sound design only enhance Debussy's already melancholic impressionist approach. Purely genius. This work solidifies Biosphere's impact on ambient movement. Previously, Jennsen has been known to pioneer his own personal style - arctic ambient. The latter is thematically named for Jenssen's geographical and minimalist attributes. Born in Tromsø, a city in the Arctic Circle of Norway, Jenssen evoked the sense of isolation and arctic calm, more prominent in his earlier albums like Substrata (All Saints Records, 1997) and above mentioned Polar Sequences. But in Shenzhou the ice melts away into the ocean of sound. And with it we drift... and we drift... For a sensory deprived in-vacuum experience, pick up Biosphere's Autour de la Lune (Touch, 2004) [headphones with deep bass response recommended], as well as his latest, Dropsonde (Touch 2006). In 2007, Norwegian Beatservice Records, re-released the first three of Biosphere's albums - Microgravity, Patashnik, and Insomnia. Highly recommended for the likes of Gas, PanAmerican, Steve Roach, Robert Henke, Deaf Center and Murcof.

This is where melody and atmosphere have come together seamlessly. I don't know if the loops featured in most of the songs are taken from classical symphony of some sort? Where Substrata had nothing substantial to hold onto and very mediocre semblances of 'musical' elements, Shenzhou proves to be a more pleasant listen in comparison. Meticulous, relaxing, voluminous, engrossing, it will make you train your ear on every sound and be drawn deeper into it. -This- is a 10/10 album as far as ambient goes.

I used to think this one was good but kind of boring, then one rainy day I put it on and it started to make sense. Actually I can't think of a CD that fits better on rainy days.

Will the next Biosphere record be audible?. The ambience is taken too extremes here and for me was a bit of a let down next to Substrata.

What could have been an amazing recording is marred by very, very quiet mastering. While this may be part of the intended effect, overall it makes it difficult to listen to in all but the quietest setting. Otherwise, this is a lovely album.