Geir Jenssen’s career started with fellow Norwegian band
Bel Canto. But soon, it appeared that Geir was to explore
other grounds, and he left to release his first solo album
under the name Bleep. And then, it was Biosphere. A name
he would appropriate to make people dance. The high point
of his commercial success came in the shape of the ubiquitous
Novelty Waves, taken from his second album as
Biosphere, Patashnik, and most famous for being
the soundtrack of a Levi’s advert. But this sudden exposure
didn’t suit the man. He moved back to his native Tromso,
reflected on his fame, and decided it was time to move
on. And he did. The next proper Biosphere album would
take three years to come out. And Substrata
was the antithesis of Patashnik. It was an album
of intense atmospheres, of long cold nights and hazy days,
using pure sounds, unusual samples and no beats at all.
Cirque is different. It is not a rebellious album,
more of a reflective work. Organic sounds, pieces of conversations
put together and, on some tracks, drums, cohabit in the
most harmonious manner. It is almost an extension of his
work with Higher Intelligence Agency, or a continuation
more like. Cirque is to perfection what Champagne
is to alcohol: a must. There are certainly no other artists
like Geir Jenssen. The transformation from pop to dance
to art act has taken him over ten years, but he has accomplished
the journey with pride and determination. Cirque
is the result of it. Not the end of the road, more the
beginning of something major.
5/5 |
