I didn't have my own recording equipment so I took nearly all of from movies that I rented in the local video store.' Jenssen describes the labor-intensive process: 'I started by collecting film samples and audio recordings from VHS tape in the late 80s. While computers and samplers were slowly becoming more available to home producers, they were restricted to file sizes on the floppy disks like those Jenssen used on his Akai S-950. Rather than incorporating famous dialogue or audio he'd stashed in some library, Jenssen's sampling method was severely limited by technology. I really liked the atmosphere of these mixes and decided to make music like that myself.' As Jenssen recalls, 'I often mixed acid house, new beat, and Detroit techno with ambient records.

Jenssen's curiosity with the collision of ambient sounds and techno first came to fruition when hosting the Bleep Culture radio show in Tromsø, Norway in the early 90s. Geir Jenssen, who turned 53 last month, is largely known for his ambient work under the alias Biosphere, although he's also worked under a handful of pseudonyms (E-Man, Bleep, and later Cosmic Explorer) throughout the eighties and very early nineties. Utterly the work of dreams, hatching in the night's breeze.' What I love most about this record is the hinted narratives and plots that emerge through the use of his samples, something I think that foreshadows the other profound records he made for Touch some years later.

'He traverses sound with a graceful elegance and understated presence which remains so elusive for many others working within this same field. 'Jenssen represents one of the most subtle, yet powerful artists of his generation,' English says.

Ambience techno