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█▀░░░ ░░░▀█
█▀░░ PsyCZ group was formed in spring 2001 by its first three members ... ░░▀█
█▀░ But as every group grows and gets new members, new people joined PsyCZ ░▀█
█▀░ to help us in our mission. Our main common loved genere was psychedelic ░▀█
█▀░ ... of course, but everone of us likes several more genres. This caused, ░▀█
█▀░ that several members began to demand releasing other music styles such ░▀█
█▀░ as ambient, drum&bass and few more ... So we realized, that our original ░▀█
█▀░ name PsyCZ is a little uncomfortable, because it highlights our psy - ░▀█
█▀░ sight. After few days of debates we decided to found new sub-group ... ░▀█
█▀░ and here we are ... PsyCZ_NP will bring you plenty of non psychedelic ░▀█
█▀░ music ... especially ambient, but some other genres are planned too. ░▀█
█▀░ Why did we decide for non-psy? Changing of the group name isn't possible ░▀█
█▀░ so possibilities we had was only adding a suffix to current group name ░▀█
█▀░░ ... so have chosen non-psy, because it's clearest and most fluent ... ░░▀█
█▀░░░ ░░░▀█
█▀░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ Keep the spirit! ░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░▀█
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█▀║ ║▀█
█▀║ Biosphere - Shenzhou ║▀█
█▀║ ║▀█
█▀║ ┌════════════════════════════════════════════════════════════════════════┐ ║▀█
█▀║ ║▀█
█▀║ Artist: Biosphere ║▀█
█▀║ Album: Shenzhou ║▀█
█▀║ ║▀█
█▀║ ┌════════════════════════════════════════════════════════════════════════┐ ║▀█
█▀║ : : ║▀█
█▀║ Ripper........: phsychflo ║▀█
█▀║ Supplier......: phsychflo ║▀█
█▀║ Genre.........: Ambient ║▀█
█▀║ Style.........: dark / nature inspired ambient ║▀█
█▀║ Ripp.With.....: EAC ║▀█
█▀║ Encode.With...: Lame 3.92 ║▀█
█▀║ Quality.......: VBRkbps / 44.1kHz / Full Stereo ║▀█
█▀║ Company(Label): TOUCH ║▀█
█▀║ CatalogNr.....: TO:55 ║▀█
█▀║ Url...........: http://www.notam02.no/~geirje/biosphere.html ║▀█
█▀║ ReleaseDate...: 28.09.2004 ║▀█
█▀║ StoreDate.....: 00.00.2002 ║▀█
█▀║ Type..........: Album ║▀█
█▀║ Source........: CDDA ║▀█
█▀║ Tracks........: 01 ║▀█
█▀║ Playtime......: 56:36 min ║▀█
█▀║ Size..........: 62,9 MB ║▀█
█▀║ ║▀█
█▀║ ┌═════════════════════════════[ ReleaseNotes ]═══════════════════════════┐ ║▀█
█▀║ : : ║▀█
█▀║ ║▀█
█▀║ dont read; listen to this mild ambient with classic music elements ║▀█
█▀║ (no cover from me this time; btw its beautiful) ║▀█
█▀║ ║▀█
█▀║ This is Biosphere's 3rd album for Touch, after Cirque [2000, TO:46] ║▀█
█▀║ and Substrata 2 [2001, TO:50]." ║▀█
█▀║ Named after the Chinese spacecraft, this is Geir Jenssen's deepest ║▀█
█▀║ recording yet, the first 10 tracks based on the orchestral works of ║▀█
█▀║ Claude Debussy. Dark Ambient at its most spellbinding (without all the ║▀█
█▀║ negative connotations one might associate with the words "dark" and ║▀█
█▀║ "ambient"!). ║▀█
█▀║ ---------- ║▀█
█▀║ ║▀█
█▀║ After ten years of recording as Biopshere, Tromso born Geir Jenssen ║▀█
█▀║ has firmly established himself at the forefront of experimental ║▀█
█▀║ ambient music. Although his early releases still bore the marks of ║▀█
█▀║ dance music, his music has now evolved towards more atmospheric ║▀█
█▀║ structures, where beats are scarce and environmental sounds are ║▀█
█▀║ essential. Patashnik, his second album, was already shaping what would ║▀█
█▀║ become the Biosphere sound, but it is not until his third opus, the ║▀█
█▀║ seminal Substrata, originally released on All Saints Records in 1997 ║▀█
█▀║ and recently reissued by Touch as a double album, that Jenssen really ║▀█
█▀║ started exploring the immense possibilities of ambient music the way ║▀█
█▀║ Brian Eno did in the eighties with his Ambient series. He now comes ║▀█
█▀║ back after two years of silence with a new album, almost entirely ║▀█
█▀║ based on orchestral works by French classical composer Claude Debussy. ║▀█
█▀║ One of the most important French composers of the late nineteenth and ║▀█
█▀║ early twentieth centuries, Claude Debussy was very often associated ║▀█
█▀║ with the impressionist movement and symbolist writers, and his ║▀█
█▀║ non-conformist tonal structures still inspire many musicians. Probably ║▀█
█▀║ better known for his orchestral works, including PrΘlude A ║▀█
█▀║ l'Apres-midi D'Un Faune and La Mer, Debussy was very influenced by the ║▀█
█▀║ work of Russian composers such as Borodin or Mussorgsky, and traces of ║▀█
█▀║ eastern music can be found in a few of his compositions. Geir Jenssen ║▀█
█▀║ experiments on Shenzhou with similar elements, weaving his distinctive ║▀█
█▀║ near-beatless soundscapes around recurring patterns throughout, ║▀█
█▀║ superposing them on DebussyÆs own orchestrations. The title track, ║▀█
█▀║ which opens the album, slowly introduces the multiple elements of this ║▀█
█▀║ work, reverently contrasting them to establish a perfect balance of ║▀█
█▀║ impressions. These diverse components are echoed in turn in each ║▀█
█▀║ track, placing them in different perspectives. Jenssen acts as an ║▀█
█▀║ impressionist painter himself, applying little touches which, heard ║▀█
█▀║ individually, do not equal to them heard in context, contributing to ║▀█
█▀║ producing sonic effects and auditory illusions. If Houses On The Hill ║▀█
█▀║ or Path Leading To The High Grass confront these warm soundscapes with ║▀█
█▀║ isolationist percussions, the remaining tracks are entirely devoid of ║▀█
█▀║ rhythmic structures, Jenssen relying instead on more subtle sound ║▀█
█▀║ organisations to create movement. ║▀█
█▀║ With this visionary record, Geir Jenssen proves once more that he is ║▀█
█▀║ the most talented musician around able to create such beautiful and ║▀█
█▀║ intense music out of arid sources. By associating himself with the ║▀█
█▀║ musical genius that was Debussy, not only does he emulate his own ║▀█
█▀║ work, but also give a whole new dimension to the work of the French ║▀█
█▀║ composer. ║▀█
█▀║ http://www.themilkfactory.co.uk/reviews/biosphere_shenzhou.htm ║▀█
█▀║ http://www.themilkfactory.co.uk/reviews/biosphere_disco.htm ║▀█
█▀║ ║▀█
█▀║ ----------------- ║▀█
█▀║ ║▀█
█▀║ B I O S P H E R E B I O G R A P H Y ║▀█
█▀║ ║▀█
█▀║ Biosphere - Cirque: ║▀█
█▀║ The Drama of Discovery ║▀█
█▀║ ║▀█
█▀║ "I work slowly", Geir Jenssen said in 1994, when asked about the ║▀█
█▀║ three-year gap between his first two releases under the name ║▀█
█▀║ Biosphere. Visions of six-month-long nights in Northern Norway amongst ║▀█
█▀║ (whatever the thermal equivalent of visions may be) of hibernating ║▀█
█▀║ temperatures would seem to explain this quasi-confession. As if taking ║▀█
█▀║ one's time would be considered dangerously old-fashioned, as if long ║▀█
█▀║ processes of creation were doomed to turn into artistic suicide. ║▀█
█▀║ ║▀█
█▀║ Quite the opposite. ║▀█
█▀║ ║▀█
█▀║ First clue: the name. ║▀█
█▀║ In 1990, having learned of the Biosphere 2 Space Station Project, a ║▀█
█▀║ sealed, gigantic glass dome in the Arizona Desert, then in its early ║▀█
█▀║ stages, Geir decides to adopt it as his new alias. ║▀█
█▀║ The sound. The meaning. A sound that describes what the word means. ║▀█
█▀║ The Biosphere 2 Research Project was meant to test the possibilities ║▀█
█▀║ of building self-sufficient space colonies, and hosted entire families ║▀█
█▀║ living in a completely detached environment for years. ║▀█
█▀║ Geir Jenssen's Biosphere has likewise been steadily creating a ║▀█
█▀║ self-contained aural universe. Once inside, we will experience the ║▀█
█▀║ outside world through the spherical window. As if watching a movie ║▀█
█▀║ where, despite the monumental scale, we still manage to feel we belong ║▀█
█▀║ in the script. ║▀█
█▀║ ║▀█
█▀║ Second clue: the distance. ║▀█
█▀║ Geir Jenssen has decided to base himself permanently in his birthplace ║▀█
█▀║ of Tromso, Norway, 400 miles north of the Arctic ║▀█
█▀║ circle, having briefly tried out Brussels and Oslo before retreating ║▀█
█▀║ back in total disinterest from the frenzy of too many ║▀█
█▀║ cultural offers. ║▀█
█▀║ What exactly goes on in Tromso? And why, then, does Biosphere resonate ║▀█
█▀║ so strongly in your walkman at rush hour in some downtown metropolis ║▀█
█▀║ of the Western World? Because it surgically extracts time out of ║▀█
█▀║ urgency, because it opens up huge spaces right at the dead centre of ║▀█
█▀║ your urban claustrophobia. The viewpoint of the astronaut who ║▀█
█▀║ contemplates Planet Earth from outer space and reflects on the ║▀█
█▀║ billions of little lives down there. ║▀█
█▀║ Someone called it 'Arctic Sound'. ║▀█
█▀║ Maybe.s ║▀█
█▀║ ║▀█
█▀║ Third clue: the distance. ║▀█
█▀║ Geir's musical history has always been one of progressive ║▀█
█▀║ self-distillation. Of maximising oneφs chosen few resources. Bel ║▀█
█▀║ Canto, Geir's band in the late eighties, had signed up with Crammed ║▀█
█▀║ Discs in Brussels and, after two albums, looked poised for crossover ║▀█
█▀║ marketability. This is precisely when Geir decides to leave Bel Canto ║▀█
█▀║ and start working on his own. ║▀█
█▀║ The reasons? A growing need to move on. A growing need for growth. ║▀█
█▀║ Two years, four singles and one album followed under the alias Bleep. ║▀█
█▀║ First symptoms of Geir's Ambient Techno that, by 1995, had come full ║▀█
█▀║ circle and become truly mainstream. History revisited: the use of ║▀█
█▀║ "Novelty Waves" (a track from Patashnik, his second album as ║▀█
█▀║ Biosphere) on a Levi's advertisement proved to be the last techno ║▀█
█▀║ straw for Geir. Rather than turning achievement into formula, we see ║▀█
█▀║ him dropping whatever was left of the hard beats, moving once again ║▀█
█▀║ into unnamed, undiscovered territories. ║▀█
█▀║ One could still call them Ambient Territories if not for their deeply ║▀█
█▀║ emotional undercurrent. ║▀█
█▀║ Someone said 'Less is more'... ║▀█
█▀║ Precisely. ║▀█
█▀║ ║▀█
█▀║ Fourth clue: interchange. ║▀█
█▀║ Geir says that music that excites him never fails to trigger visions ║▀█
█▀║ in his mind. And I personally dare you to find music which is more ║▀█
█▀║ visual. Soundtracks, yes, Biosphere has released the score for ║▀█
█▀║ Insomnia and Man With a Movie Camera, and been elsewhere extensively ║▀█
█▀║ commissioned. ║▀█
█▀║ Background music.... not quite. This is synaesthetic music. Sound ║▀█
█▀║ sculpture, music as photographic collage. Echoes as warning signs. ║▀█
█▀║ Liquid beats, samples as snapshots, faraway speeches of open-ended ║▀█
█▀║ meaning. ║▀█
█▀║ No, not the hungover Balearic beaches. No, not even the deeply ║▀█
█▀║ catatonic Winter nights of Norway. Something deeper, warmer, so much ║▀█
█▀║ more human, so much more visceral. ║▀█
█▀║ Contemplation. Remember that word? ║▀█
█▀║ Try it. ║▀█
█▀║ ║▀█
█▀║ Fifth clue: the circles. ║▀█
█▀║ Substrata, Biosphere in 1997, displayed an impossible proximity to ║▀█
█▀║ perfection and is now an insistent visitor to the lists of 'best ║▀█
█▀║ ambient album of all time', thus establishing a new canon for ║▀█
█▀║ contemporary classicism. What distinguishes this new classicism is its ║▀█
█▀║ humility: its status was never a pre-requisite, but rather an ageing ║▀█
█▀║ process that reminds one of the finest wines. Substrata's status as ║▀█
█▀║ the new canon of ambient happened as a consequence of the monumental ║▀█
█▀║ existentialism it contains - ambient music is no longer simply ║▀█
█▀║ ignorable or 'interesting'. ║▀█
█▀║ Cirque followed up in 2000, a dark, saturated recording, quietly ║▀█
█▀║ descending from wonderment to despair, inspired as it was by the true ║▀█
█▀║ story of a young North American explorer who lived a brutal dream of ║▀█
█▀║ ascetism but fatally lost himself in the dense forests of Alaska. ║▀█
█▀║ Cirque's dramatic tension is magistrally woven amongst the sounds of ║▀█
█▀║ enclosure, existentialist, dangerous, alone. ║▀█
█▀║ ║▀█
█▀║ Sixth clue: complexity. ║▀█
█▀║ Geir Jenssen finds himself at a complex and fascinating crossroads ║▀█
█▀║ right now: the heritage of Ambient Techno resting on his shoulders, ║▀█
█▀║ the masterpiece of ambient music resting on his shoulders - we can ║▀█
█▀║ feel the proximity of a new quantum leap into unimaginable ║▀█
█▀║ territories. And if those territories, yet without a name, are not yet ║▀█
█▀║ inhabitable, Biosphere will map them out for us, and recount his ║▀█
█▀║ processes of discovery. The sound palette is now becoming lower, more ║▀█
█▀║ abstract, more patient, more complex. ║▀█
█▀║ Geir Jenssen has always proved to be a masterful sculptor of sound, ║▀█
█▀║ but, most importantly, has always known how to sculpt the silence that ║▀█
█▀║ surrounds sound. In our world immersed in excess, Biosphere becomes ║▀█
█▀║ the certainty of a softness that hits harder. ║▀█
█▀║ Biosphere has always made you pay attention. It now demands you to be ║▀█
█▀║ active in your listening. ║▀█
█▀║ Use it as a seed. ║▀█
█▀║ Do it.s ║▀█
█▀║ ║▀█
█▀║ Heitor Alvelos ║▀█
█▀║ March 2000 / December 2001 ║▀█
█▀║ http://www.notam02.no/~geirje/biosphere.html ║▀█
█▀║ ║▀█
█▀║ ║▀█
█▀║ ┌══════════════════════════════[ Tracklist ]═════════════════════════════┐ ║▀█
█▀║ : : ║▀█
█▀║ ║▀█
█▀║ ║▀█
█▀║ 01. Biosphere - Shenzhou ║▀█
█▀║ 02. Biosphere - Spindrift ║▀█
█▀║ 03. Biosphere - Ancient Campfire ║▀█
█▀║ 04. Biosphere - Heat Leak ║▀█
█▀║ 05. Biosphere - House on the Hill ║▀█
█▀║ 06. Biosphere - Two Ocean Plateau ║▀█
█▀║ 07. Biosphere - Thermal Motion ║▀█
█▀║ 08. Biosphere - Path Leading to the High Grass ║▀█
█▀║ 09. Biosphere - Fast Atom Escape ║▀█
█▀║ 10. Biosphere - Green Reflections ║▀█
█▀║ 11. Biosphere - Bose-Einstein Condensation ║▀█
█▀║ 12. Biosphere - Gravity Assist ║▀█
█▀║ ║▀█
█▀║ ------- ║▀█
█▀║ 56:36 min ║▀█
█▀║ 62,9 MB ║▀█
█▀║ ║▀█
█▀║ ┌══════════════════════════════[ PsyCZNews ]═════════════════════════════┐ ║▀█
█▀║ : : ║▀█
█▀║ ║▀█
█▀║ You think you can help PsyCZ? Send us a word if you can provide 10Mbit+ ║▀█
█▀║ private dumps. 100mbit dumps for group usage also welcome and big ║▀█
█▀║ rewards given. ║▀█
█▀║ We are also looking for 100Mbit+ sites with "all years" releases to ║▀█
█▀║ affiliate with. Psychedelic, ethno, chill, ambient genre archive sites ║▀█
█▀║ are also welcome. ║▀█
█▀║ ║▀█
█▀║ Responsible rippers also needed: If you can supply us original CD/Vinyl ║▀█
█▀║ or DJ/Live sets and rip it in excellent quality meet us at #psycz-temp ║▀█
█▀║ on EfNet and msg op. ║▀█
█▀║ ║▀█
█▀║ ┌═════════════════════════════[ PsyCZGoals ]═════════════════════════════┐ ║▀█
█▀║ : : ║▀█
█▀║ ║▀█
█▀║ As time goes by, the world matures. PsyCZ has matured and the scene has ║▀█
█▀║ matured. PsyCZ has been releasing MP3 in VBR (using --r3mix with LAME ║▀█
█▀║ 3.89, making it archival quality enough even from today's view) since ║▀█
█▀║ end of 2001, and was met with skepticism. As time went by, more and more ║▀█
█▀║ groups realised that VBR is superiur to CBR 192. Finally, now in 2004, ║▀█
█▀║ VBR is allowed by the scene. ║▀█
█▀║ PsyCZ in 2004 will also continue to bring you the finest psychedelic ║▀█
█▀║ trance music from around the world, as we have done since 2001. ║▀█
█▀║ ║▀█
█▀╚════════════════════════════════════════════════════════════════════════════╝▀█
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