|Biosphere / Departed Glories|
|Add Date:||2018-08-19|| ||Pull Date:||2018-10-21|| ||Charts:||Classical/Experimental|
|Week Ending:||23 Sep||26 Aug|
Ambient/experimental. A very quiet album. Drone submerged underwater. A chorus of highly distorted and muted human voices flutter on top. Bleak, desolate. Not much structure...the music moves in and out like a tide or just stands in place.
From Bandcamp: “It’s easy to forget that Norway shares a short stretch of frontier with Russia, right at the northernmost tip of the country. That region is where Geir Jenssen, the Norwegian electronic producer behind Biosphere, comes from, and where he has been composing his austere, disturbing and deeply textured ambience since the early 1980s.”
Try 9, 17, 8. If you like one, you’ll probably like them all.
1) “Out of the Cradle” (2:16): Wind whistling across some pipes.
2) “Wyll and Purpose” (7:56): Alternates between a high drone and a low drone. Like a melody in very slow motion.
3) “Down On Ropes” (3:12): Quiet underwater humming.
4) “Free From the Bondage You Are In” (2:15): A bunch of underwater animals chatting--heavily distorted and muted.
5) “With Their Paddles in a Puddle” (3:04): Distorted voices fade in and out of focus.
6) “Than is the Mater” (4:15): Quiet drone. Oscillates between tension and resolution.
7) “Sweet Dreams Form a Shade” (5:26): Ethereal human voices. Again, underwater.
8) “Aura in the Kitchen With The Candlesticks” (6:05): Guitar strums as string instruments and voices strain against each other.
9) “Departed Glories” (4:53): Neat track. Voices flow in and out of each other in river of mysterious sound.
10) “Whole Forests of Them Appearing” (5:29): Quiet drone.
11) “Invariable Cowhandler” (3:44): Gentle tones, high voices. Relaxing.
12) “Behind the Stove” (1:38): High tonalities. Voices curling against each other in slow motion.
13) “You Want To See It Too” (3:52): Calm and cold. More vocals. Bleak.
14) “In Good Case and Rest” (3:17): More ominous. Pulsing sound in the background. More chorus-like vocals.
15) “Tomorrow Then We Will Attend” (2:08): Bleak again. Strained voices, no rhythm.
16) “With Precious Benefits to Both” (4:44): Peaceful and very quiet. Tide rolling in and out.
17) “Fall Asleep For Me” (5:49): Rhythm comes in the form of repeated pulses...the music seems to push in and out. Nice use of choral voices.