Biosphere

Biography

Biosphere’s Geir Jenssen comes from Tromsø, Norway, a town 500 miles over the Arctic Group. A founding person in quasi-new age group Norwegian trio Bel Canto, Jenssen documented a set of albums with this group for Belgium’s Crammed label before departing to record single, initial as Bleep, after that as Biosphere. He released several Bleep singles with the past due ’90s on Crammed subsidiary SSR, along with the full-length The North Pole by Submarine, released in 1990 and an recognized precursor of what became referred to as ambient techno. Fusing components of composition produced from environmental experimentalists such as for example Brian Eno, Jon Hassell, and Walter Carlos using the rhythmic backbone of metropolitan dance styles such as for example techno and acidity home, ambient techno’s recognition would grow using the recognition of artists like the KLF, Amazing Force, Higher Cleverness Agency, and, needless to say, Biosphere. Jenssen’s 1st materials under that name, the full-length Microgravity, made an appearance in 1991 within the Norwegian Origo Audio label, and was found for international launch by R&S subsidiary Apollo the next yr. In 1993, and a rating for the Norwegian film Evige Stjerner (Eternal Celebrities) and work with a multimedia set up, Jenssen collaborated with German ambient composer Pete Namlook within the Fax launch The Fires of Ork, reissued the next yr by Apollo. Jenssen came back to Biosphere in 1994 with another full-length, Patashnik, along with a following live tour, the achievement of which got among Jenssen’s songs (“Novelty Waves”) inside a Levi’s industrial. In 1995, Jenssen collaborated with Higher Cleverness Agency’s Bobby Parrot, carrying out the live improvisational piece Polar Sequences, released by Apollo in 1996. Substrata, the very first completely ambient Biosphere record, made an appearance on All Saints Information in 1997, and quickly became known as a classic from the genre. Biosphere’s soundtrack to Sleeplessness also arrived in 1997. The next calendar year, Jenssen and Deathprod (Norwegian engineer/musician Helge Sten) interpreted compositions by Arne Nordheim; the causing CD, Nordheim Changed, was released by Rune Grammofon. Jenssen started the 2000s using the discharge of Birmingham Frequencies, another live documenting with Higher Cleverness Agency. Then began an extended group of albums over the Contact label, you start with Cirque (2000) and accompanied by Substrata 2/Man using a Film Surveillance camera (2001), which matched a remastered Substrata with Jensson’s soundtrack to some Russian silent film, stated in cooperation with Per Martinsen (Mental Overdrive). Pursuing these releases had been the Debussy-inspired Shenzhou (2002), minimalist drone Autour de la Lune (2004), somewhat jazzy Dropsonde (2006), and live documenting Cellular (2009). N-Plants, an idea record about Japanese nuclear power plant life, appeared on Contact in 2011. The majority of Jenssen’s pursuing releases through the 10 years were archival produces and reissues by himself Biophon Information, but he came back to Contact in 2015 with Stator, another divide record with Deathprod. Biosphere agreed upon to Smalltown Supersound in 2016; Departed Glories, his debut for the label, found its way to September.

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