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Biosphere
Shenzhou [2CD 2017]

ambient/ elektronika
Biophon, 2017

Czas trwania: 56:29

Średnia ocena klientów: -    oceń

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CD : 56,90 zł
na stanie
Nr kat.: BIO27CD
EAN: 7090029000276
format : CD
liczba nośników : 2
Opakowanie : kartonowy ecopack
winyl : 141,90 zł
na stanie
Nr kat.: BIO027LP
EAN: 7090029001730
download code : nie
format : 3x12"LP
kolor : czarny
liczba nośników : 3
 


nr tytuł play mp3
  CD 1: Shenzou
1 Shenzhou
2 Spindrift
3 Heat Leak
4 Ancient Campfire
5 Houses on the Hill
6 Two Ocean Plateau
7 Thermal Motion
8 Path Leading to the High Grass
9 Fast Atoms Escape
10 Green Reflections
11 Bose-Einstein Condensation
12 Gravity Assist
CD 2: The Samphire Tower
1 Griz Nez Windy
2 Dover Ferryport
3 Kent Country Train
4 Lorry Shuttle Shaft
5 Sea Cat
6 Shuttle Hiss Tunnel
7 Calais Ferryport
8 Shuttle
9 The White Cliffs of Dover


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

Paul Cooper, Pitchfork: ""Shenzhou", aside from being the name of the Chinese manned-spaceflight vehicles, means "magic vessel", and I can't imagine a more apt description for Geir Jenssen's latest excursion into ambient deep listening. After following an Aphexian trajectory with his releases on Apollo, the ambient sublabel of Belgium's R&S; Records, Jenssen veered from the padded sci-fi-inspired techno of Microgravity and Patashnik with 1997's Substrata, a genre-defining exploration of drifting soundscapes. Substrata remains for many the album that perfectly expresses the serenity and intensity of Arctic wildernesses, a landscape Jenssen knows intimately, having spent much of his life in the Norwegian Arctic Circle.

In 2000, Jenssen nearly eclipsed the success of Substrata with Cirque, a frequently frosty submerging of excerpted conversations and found environmental sounds that rivals Wolfgang Voigt's Gas project in its rumbling, gauzy beauty. Jenssen again relies on found sound as source material for Shenzhou, but this time, the found sound is old vinyl recordings of the orchestral works of French Impressionist composer and ambient precursor, Claude Debussy. Jenssen lifts fragments of these scratched records in a similar manner as he did for Cirque's "Black Lamb Grey Falcon" and "Iberia Eterea".

The ten tracks (out of the dozen on the album) that follow this model all begin as a barely audible hum, like a small electrical transformer, out of which the dust-dappled loops of Debussy's woodwind, brass, and strings emerge, condense, and fade out into pink noise rustles. Unlike Steve Reich's phase pieces or Brian Eno's Discreet Music, though, Jenssen doesn't set his loops against each other to produce juxtapositions and piquant dissonance; he uses them to describe imagined terrain, at first glance monotonously flat and bar
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