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Oktober, gelang ihm und dem Sherpa Krishna der Aufstieg auf den Gipfel, ein dritter Kamerad musste wegen Erfrierungen umkehren. I've often thought that mountain climbers must be amongst the most masochistic and selfish assholes on earth. Everest ascent in which a number of climbers died due to greed, glory hounding, and the inherent stupidity of attempting to stand on the highest spot in the entire world?

What was wrong with those people and why did their families let them go in the first place? That cautionary tale hasn't seemed to stop anybody though, folks keep shelling out money year after year to climb the thing and they keep dying just the same. I guess that if it's that important to you though, then go on ahead. Armed with a mini-disc recorder instead of an IMAX camera, he managed to create a highly intimate, personal, and listenable aural portrait of his trip.

As much as I love, say, Chris Watson or Steven Feld, I often find these field recording albums to be more interesting in theory than in practice, but I was really surprised at how musical this CD ended up being and that it truly bore repeated listening. Perhaps it shouldn't be that surprising actually, as Jenssen is better known as the mastermind behind Norway's Biosphere, a popular and much lauded ambient act who have always been quite engaging.

You also get some lovely impressions of what life as a Sherpa must be like day in and day out. Most often released on the Jon Wozencroft-curated Touch label - responsible for landmark releases by the likes of Ryoji Ikeda, Fennesz, Philip Jeck, and Johann Johannsson to name a few - he has a deft hand combining field recordings typically recordings of natural outdoor sounds with slow-moving, minimal electronics.

Here, Jenssen has documented his climb up Cho Oyu the sixth highest mountain on Earth in Tibet to stunning affect. Far from the mishaps of poorly executed "World" fusions, Jenssen mixes real sounds as he experienced them - one can detect a Yak crossing filled with bells at one point, Tibetan conversation, and radio snippets elsewhere - with his hovering Calder-esque electronics and a beautiful booklet with photos and daily writing entries.

As such, he has created a tactile, enveloping journal that bristles with life and mirrors the reflective, receptive atmosphere of his journey. Brilliant stuff then. On Ash International we find a CD by Geir Jenssen, mostly known as Biosphere and as such with releases on Touch , but since we are dealing here with a strict project of field recordings, it is released under his own name.

In September and October he undertook a trip into Tibet, climbing the Cho Oyu, the sixth highest mountain of the world. Whereas others would probably take a camera, Jenssen is more the kind of guy to take a minidisc and a microphone to make a sonic diary.

That marks already one big difference between this and the previous CD. Some of the tracks use these shortwave sounds in addition to the field recordings. Another difference is the fact that Jenssen's twelve tracks are more pure recordings of events and situations, and the previous is a musical collage of various recordings at the same time.

Throughout these pieces are minimal, but are clearly defined. Each is a snapshot of a particular part of the journey. Although Vital Weekly didn't review 'Dropsonde', it's easy to see why some of this was used as source material on that particular Biosphere CD.

In terms of music, this is unmistakably the more musical one of the two that deal with field recordings. The release comes with an extensive booklet, also a diary, but then of words, of which the last entry reads: "I'm not sure I'd ever undertake a similar journey. Once was enough. According to Jon Wozencroft, founder of Touch, Geir Jenssen aka Norwegian ambient artist Biosphere spent all the money that he got from the considerable sales of his Substrata album to fund an expedition to Tibet, specifically to climb Cho Oyu - the world's sixth highest peak.

Documenting this expedition in the form of a written diary and minidisc field recordings has resulted in what is possibly his best work yet. And yes, the expected sounds of wind chill are there - a sonic reminder of the extreme nature of the environment, but also the idea of man's insignificance in such vast and isolated surroundings.

The constant need to communicate is represented by the sound of local people, 2-way radio chatter or tuning into the comforting but otherworldly ether of shortwave radio. Cyclic rhythms drift in and out of the recordings and whilst they're subtle, they help retain a sense of narrative Lavishly packaged and almost presented like a guidebook, the inclusion of a map suggests that you could re-create the journey yourself.

The ultimate statement in audiotourism. Wie dieser Kletterkaiser z. Hier ist ein Ambientalbum des Jahres. Ook benieuwd waar Biosphere zijn inspiratie vandaan haalt bij het maken van zijn ijzige, ruimtelijke ambient? Zoek niet verder: dit album vol licht gemanipuleerde veldopnames uit Tibet is het antwoord. Geir Jenssen - hij is meneer Biosphere - is behalve muzikant ook fotograaf en begenadigd bergbeklimmer. In heeft hij zonder zuurstof de Cho Oyu beklommen in Tibet, met een hoogte van meter de op vijf na hoogste berg van de wereld.

Jenssen zou Jenssen niet zijn als hij geen recorder mee had genomen om veldopnames te maken tijdens die expeditie. Normaal gesproken zorgt zulks dan voor het benodigde bronmateriaal voor een Biosphere album. Zo ook hier: op het vroeg in verschenen Dropsonde is regelmatig gebruik gemaakt van deze opnames. Wat is echter het geval? De veldopnames waren zo welsprekend en wonderschoon dat ze met wat lichte aanpassingen hier en daar zo uitgebracht konden worden.

Het eindresultaat is - hoe kan het anders - een stuk minimaler dan een normaal Biosphere album, en benadert soms de essentie van eenzaamheid en pure stilte. Prachtige drones, sfeerklanken van spelende kinderen vermengd met zacht galmende Tibetaanse klankschalen, windgeluiden, op de top opgevangen korte golf radio-uitzendingen uit Noorwegen, een gesamplede en bewerkte tape met Tibetaanse volksmuziek; het staat er allemaal op en het is zonder uitzondering allemaal even prachtig.

Verwacht dus geen ritmische benadering zoals dat bij Biosphere vaak voorkomt. Dit is minimaler, abstracter en ontoegankelijker, en wellicht voor sommigen ook minder muzikaal, aangezien het ergens op de grens tussen geluid en muziek ligt.

Om het nog mooier te maken zit het geheel in een mooie hoes en krijg je er een boekje bij met het reisverslag van Geir Jenssen zelf, compleet met eigen, machtig mooie foto's. Het blijkt een echte meerwaarde, want zo gaan de opnames echt leven en krijgen ze veel meer betekenis.

Zo is Cho Oyu m: Field Recordings From Tibet een indrukwekkend document geworden; een soundtrack bij het reisverslag van een barre tocht in woord en beeld van Geir Jenssen. Seit Anfang der iger Jahre hat der norwegische Komponist zehn Alben produziert und in etlichen anderen Projekten mitgewirkt. Sie geben einen kleinen Einblick, in welcher akustischen Vielfalt sich Land und Leute bewegen. Es zeigt die Vielfalt der Natur, einer Kultur und des Menschen; nicht mehr doch auch nicht weniger. Cela Geir Jenssen l'a bien compris.

Best known for his ambient work as Biosphere, Norwegian musician Geir Jenssen is also an accomplished mountaineer. In , he took part, with five other climbers and a Sherpa, in an expedition to climb Mount Cho Oyo, the sixth highest summit in the world. Culminating at m, the mount is situated on the border between Tibet and Nepal, a stone throw away from Mount Everest. It also gives an idea of what mountaineers attempting such a journey are faced with, from freezing cold temperatures to altitude sickness and physical and mental pain.

Armed with a MiniDisc recorder, a microphone and a shortwave radio receiver, Jenssen collected field recordings through the whole ascension and they are presented here entirely in their naked form, documenting the journey from the moment the expedition crossed the border into Tibet to reaching the first base camp, various intermediate camps and finally the summit, thirty days later.

The recordings weave an intricate and, at times, oppressive, sonic web as the expedition progresses through the first stages of the ascent, ranging from urban noises and everyday life recorded in the last towns and villages crossed to herds in transit, music captured on the shortwave radio receiver, birds feeding, someone breathing through an oxygen mask and storms.

As the expedition gets nearer to the goal, the accrued effort required due to the rarefied oxygen transpires through denser soundscapes and shorter selections, as if the simple fact of recording was progressively becoming too demanding. Carnet de route sonore, Cho Oyo raconte m de transport.

Geir Jenssen ist ein norwegischer Name. Cho Oyu m sees Geir Jenssen, of electronic ambient project Biosphere, collecting together, manipulation and editing sound recordings from his trip up Cho Oyu in Tibet- the sixth highest mountain in the world. Each track follows a leg of the jouney with a few minutes of related sounds and music.

Jenssen skilfully takes ethnic music, radio jingles and all manner of harmonic audio sounds as a back bone for most of the track, then adds on top all manner of environmental sound be it; wind,animals or people- in a effective and entertaining manner. So as a result this is replayable and enjoyable more than simple field recording cd. On the back of the wallet is a map of the area covered, giving the feeling that real thought has gone into the booklet and wallet, much like the sound and music.

A worthwhile mix of field recordings, ambience and interesting audio editing- that really acts as a audio dairy to Jenssen's trip and a enjoyble album to boot. Most people know Geir Jensen through his aka as Biosphere. The name being a reference to the Biosphere 2 Space Station Project. I think that is more and more becoming a very relative notion since the Internet pervades every part of the Earth and everyone is easily accessible.

This does not lead to solo releases exclusively because in the past years he worked together with Higher Intelligence Agency, Deathprod. The atmosphere of the images is caught quite nicely. Touch now releases a cd under his own name, Geir Jenssen. I guess this done in order not to confuse the audience with the Biosphere work and indeed because this work is much more personal than anything Jenssen has released so far.

Cho Oyu m contains, just like the subtitle says, field recordings from Tibet. It is quite different from the Biosphere stuff. Here, rhythm and melody are not the main characters but the recordings that are made while Jenssen climbed the Cho Oyu. Yes, we learn that Jenssen actually also is an experienced climber of high mountains. Actually the text greatly improves the experience of the audio. I had my first listening before reading the text and it is interesting to read the thoughts I jotted down while listening.

The latter, also is based on phonographic recordings. The scenery which he presents is like a Tin-Tin comic, with clear shapes and bright colors. In general there is little depth. The recordings are of good quality but the compositions are unable to take me along. During my second listening session I also read the text.

Krakauer wrote a wonderful book about this. This, together with the audio on the cd, enhances the experience and actually while reading and listening I had a great time. As with all Touch releases this one is beautifully designed and carries a booklet with other climbing photographs that make the experience even better. In conclusion I think that Jenssen experiments with phonography might lead to interesting results. In any case he can come up with recordings that are not made by many.

It is the first time, as far as I know, that he lets go of the musical context in the classical sense which also opens up new possibilities. There are however two points for consideration: first is the concept of recording and second is the concept of the composition. There are excellent examples for inspiration inside the Touch catalogue. Doch was ist schon »normal« bei Geir Jenssen alias Biosphere?

Geir Jenssen, ofwel Biosphere, is bij ons bekend als de man die ons reeds meermaals de perfecte nachtelijke koptelefoonambient bezorgde uit het hoge noorden. Dat hoge noorden heeft hij voor deze opnames even ingeruild voor een zware klimtocht naar de Cho Oyu, de zesde grootste berg ter wereld die uitstrekt tot Nepal.

Gewapend met een minidisk, een microfoon en een kortegolfradio-ontvanger vatte hij de dertig dagen grimmige klim aan. In , Geir Jenssen aka Biosphere travelled to Tibet with the aim of climbing the Cho Oyu mountain - sixth highest top of the world - armed with minidisc, microphone, shortwave radio and photographic equipment.

The sounds of "Cho Oyu" are radiant in their simplicity, presenting us with lots of suggestive views of the Tibetan environment while working effectively as a spirit-heightening background. A herd of yaks is led by the shepherds with melodic whistling, eliciting a heartwarming sense of purity; shortwave interferences of an airplane's staff communicating with ground control, casually recorded at night by Jenssen while he was at m, remind us how lonely we can be - wherever we are.

The wind is omnipresent: one can feel the limbs freezing even while sitting on the couch. When the raw materials get treated, the magic springs out in large quantities, like in the fantastic loop of Tibetan music in "Jobo Rabzang", which is as good as any Jon Hassell masterpiece. Thanks to Geir Jenssen's profoundness, I can at least feel it a little nearer.

It's not enough, though. The ascent to the peak of a gigantic mountain is something that few humans are able to experience; even those who manage to make a serious attempt are often turned back by the mental and physical demands that such a task entails. Traveling with a minidisk recorder and a microphone, Jenssen recorded his aural environment throughout the trip, with the addition, at times, of the sounds pulled in via his transistor radio.

While much of the journey took place on the cold face of the mountain and in seemingly spartan camps along the way, Jenssen was able to collect a surprisingly diverse collection of sounds, from the bells, whistles, and grunts of herders directing a yak caravan at the Paling campsite, to passing airplanes, neighboring birds, and the rather ominous wheeze of some of his fellow and less fortunate climbers on oxygen.

Jenssen seems intent on finding life at each step of his trip, even if such life comes in the form of static-ridden radio waves, or a plane passing far too high to register as anything more than a dark blip on a white plain. According to Jon Wozencroft, founder of Touch, Geir Jenssen aka Norwegian ambient artist Biosphere spent all the money that he got from the considerable sales of his 'Substrata' album to fund an expedition to Tibet. Specifically to climb Cho Oyu - the worlds sixth highest peak.

And yes, the expected sounds of wind chill are there - a sonic reminder of the extreme nature of their environment. But also the idea of man's insignificance in such vast and isolated surroundings. The constant need to communicate represented by the sound of local people, 2-way radio chatter or tuning into the comforting but otherworldly ether of shortwave radio.

Cyclic rhythms drift in and out of the recordings and whilst they're subtle, they help retain a sense of narrative. Beautiful mournful shimmering abstract sound painting courtesy of Christian Fennesz electric guitar, electronics and Ryuichi Sakamoto piano. Recorded respectively in New York and Venice between and , Fennesz and Sakamoto worked in geographic isolation from each other until meeting up for the final mixdown in NYC in February My first thoughts were that it might have been better for the two collaborators to have worked together in the sense of being in the same room.

I cannot base this on anything solid. Further thoughts were that there is a lot of space in these compositions, and that the geographic distances and the time frame might have helped the creative process, due to a delayed, fragmented kind of intimacy that could facilitate something more considered.

I keep thinking of abstract painting, like Victor Passmore, or Rothko. Maybe Rothko with little white lines dribbled playfully through some of his colour blocks. Talking of art, the sleeve art is handled beautifully by John Wozencroft.

The cover is a landscape photograph, of an auburn sky beneath which is a winter treeline, parting slightly in the centre to reveal a small silhouette of a house: different forms combining to one image. Having just had the pleasure of meeting the man himself when I was his DJ support at some industry shindig in Central London the other week. I'd decided to backtrack and revisit this, his last album for Touch.

More propulsive statements in isolated techno. In short 'Dropsonde' is pretty amazing. The opening snow drift of 'Dissolving Clouds' lends an abstract, disengaged feel that's reminiscent of earlier work before the shuffling jazz drums of 'Birds Fly By Flapping Their Wings' sets the tone for the rest of the album. And despite his meteorological association with winter, I found this to be a warm, accessible, beautifully presented and inviting piece of contemporary electronic music. Dropsonde, the latest album by the most interesting and constantly evolving ambient artist of them all, announces itself with a three-note chime, not unlike the station identification used by the NBC television network.

Biosphere then builds an entire track out of it by bending, stretching, delaying and quietly embroidering in between this trio of notes. In this newest work, Biosphere returns to rhythmic music, but not of the sort that characterized his early, classic, techno-influenced albums, like Microgravity and Patashnik. Instead, he borrows an idea already broached by a handful of other artists - loaning rhythm tracks from "classic jazz" - and makes it his own by encompassing it in his signature otherwordly sound.

Appropriately enough, a "dropsonde" is a device which relays organic information to a computer. And is this not what Biosphere has been doing throughout his career, somehow relaying his impressions of the world of around us electronically? All other considerations aside, the litmus test is how good the music is to listen to, and it is just gorgeous. Surrounding it are ten other pieces over a generous running time of seventy minutes, each one a small masterpiece, closing with the weightless drift of the elongated "People Are Friends".

And as always, housed in a typically beautifully crafted Touch digipak. Over the course of a career now spanning well over a decade, Biosphere has dependably crafted minimalist, drifting music that pulses serenely on the edges of consciousness, incorporating rhythmic loops almost subliminally into his fog-like constructions.

On albums like his epic Substrata and its sublime follow-up Shenzhou, which incorporated hazy orchestral samples into the mix, this formula worked beautifully. Perhaps realizing this, Biosphere has made Dropsonde a very different effort indeed. Crackling vinyl noises and digital glitches glide across a dim bed of chopped-up melodic fragments, with drums blending in more than they do on other tracks.

Dropsonde is an interesting, if not entirely successful, new direction for Biosphere. Geir Jenssen has moved toward something new on Dropsonde -- finally on CD after having been issued on LP some months previously. The CD version contains more music, about 25 minutes more. It's the sound and arrangement of this one that grabs the listener's attention quietly and gently, but nonetheless insistently.

First, the definition that provides a telltale hint of the album's sound: a "dropsonde" is a radiosonde, dropped by parachute from an aircraft, to obtain soundings of the atmosphere below. The principle applies here in spades. The opening moments of Dropsonde's second track, "Birds Fly by Flapping Their Wings," are familiar to all of Jenssen's ambient music: a gray sonic wash of random elements that could be weather, water, etc.

A synth plays a quiet drone underneath for a few moments. About 40 seconds in, a drum loop that could be from Tony Williams on a Miles Davis record slips in. It's constant, it never moves, but it shimmers just right for the two-chord keyboard sequence to hover above while the other sounds and keyboards subtly move in ghostly fashion through the middle and underneath.

The rhythm is hypnotic, but the piece is far from static -- it just slowly draws you in. There is emotion in it; it feels good; it feels meditative but alive. The piece gradually strips away everything but the sounds the listener heard coming in. The Miles reference isn't a mistake; in a number of tracks here, Jenssen touches upon the jazz musician's colors, modes, tensions, and edgelessness.

It's the Miles of the second quintet and the Miles of In a Silent Way, where mode falls away and the smaller, repetitive vamp leads the way in. Check "Triple Time," "Fall in, Fall Out" with its shimmering, authoritative military-style loop , and "Arafura," which is perhaps the finest articulation of Jenssen's method; it's spare and beautiful yet lush, with slowly unfolding mystery. Other tracks here, such as "Daphnis 26," offer a more forbidding ambient tone before the loops kick in and send the listener to an edge that never quite materializes.

The blissed-out "Sherbrooke" is a minor masterpiece, taking the ambient form into new directions with its utilization of sonic loops that become rhythmic statements under the radar. The album closes with the whispering quietude of "People Are Friendly," with keyboards swelling gently in hushed tones as voices appear and disappear through the mix for the entire ten and a half minutes before the album itself, like the track, disappears into silence, echoing memorably but indescribably in the mind of the listener.

Jenssen only records when he has something new to say; he's said it here. It was inevitable that Norwegian ambient minimalist Geir Jenssen Biosphere would explore the microfibers of jazz. Unlike his jazz-noodling countrymen, Jenssen sacrifies none of his contemplative ambient climates on 'dropsonde', his fifth release for England's austere [! Whereas Jenssen's attempt to "bliss out" classical music samples and loops on '02's 'Shenzhou' proved lacklustre, the jazz snippets on "In Triple Time" and "Fall In, Fall Out" add tension to a recording that will leave you mesmerized for repeated listenings.

Geir Jenssen has been creating ambient music under the name Biosphere for over fifteen years now. He's released nearly twenty albums worth of material in that time, both on his own and in collaborations with everyone from the Higher Intelligence Agency on the great Polar Frequencies to Deathprod. In that time, his work has plumbed such a signature sound that he's been coined as having originated the "Arctic Sound. Maturation isn't probably quite the right word for someone who has been creating music for so long, but his past several releases have burst forth with such singular, refined yet unique visions that although the variety of his early work like Substrata is made to sound like sketches in places.

His Shenzou is an all-enveloping soup of strings and murky nocturnal pulses while his most recent effort Autour De La Lune pushed off into deep space with icy tones and much less of a focus on melody. In that same way, Dropsonde finds Jenssen moving in another singular direction for the course of an entire album, and the result is again highly refined and enjoyable.

Jan Jelinek and other artists have been dipping their toes into jazz music for some time now, but you haven't heard anyone melt the pieces of the genre down to their base elements and reconstruct them in the way that Jenssen has here. After the short opening track of "Dissolving Clouds," the album moves forth with warm resonated melodies and shuffling snares in "Birds Fly By Flapping Their Wings.

I mentioned Jelinek above, and in places on Dropsonde, there's definitely a resemblance. Most of the other times, though, the album reaches for those deep, dark places that Biosphere seems to know how to massage best. As with his other excursions into different styles, Jenssen still maintains an almost signature sound on most of the tracks, and because of that very reason, you will definitely enjoy this album if you like his other work.

I'll admit that I'm a sucker for this type of all-enveloping ambient music, and Jenssen seems to know just which buttons of mine to push. A dizzying canvas of weightless loops, Dropsonde proves this veteran architect of twilight soundscapes remains a master of the machine-addled sublime. There are few musicians or composers that can hypnotize me the way that Geir Jenssen does. His subtle manipulations of patterns and soundwaves will have me staring at my speakers for hours on end.

Almost instantaneously my eyes glaze over and I sink deep into my couch. The rhythmic pulses wash over me and surround my head like a warm scarf. Where his last album, Autour de la Lune, was mainly an exercise in the lower registers of the sonic realm, Dropsonde is brighter and more immediately engaging listen. Everything just floats out of you, anger-tension-worry-energy, and you are left to bob up and down with the slow ebb and flow of his sonic waves.

Trance has never been so interesting and peaceful. In "Dropsonde" Biosphere is pushing new directions towards the jazz colours of Miles Davis and Jon Hassell, whilst re-invigorating the pulse and projection of his signature sound: a hypnotic combination of pleasure and dread. A perfect invitation to new paths in electronic fusion music for the 21st century. It typically relays information to a computer in the host plane by radio.

A parachute may slow the fall. The notion of this small, compact and highly mobile unit of super quality technical kit listening to the environment, is oddly metaphorical for the Biosphere programme itself. Music that is as much about the world about us as it is about top end digital production layering. And as always, the fantastic quiddity of the work. The six tracks on this album are currently only available in vinyl format; the CD will follow in November [now early - ed.

The music represents a change from the impressionist washes of Shenzhou and Autour La Lune but it is unmistakeably the work of Biosphere. The territory is confirmed from the opening bars. The widescreen aspect of the sound is firmly present but there is now a shuffling and insistent feel that has been absent of late and is much welcome on its return.

As in the other cuts these sprung rhythms underpin and add to the mix bringing an element of excitement to the tracks and making this a landmark record for the artist. This is a wonderful piece of work and one of the most organic sounding electronic albums to emerge so far this year. Since, his work has taken many shapes, from records and installations, often involving landscapes, to live performances.

With Dropsonde, Jenssen returns to more hospitable territories. Abandoning drone-like moods for richer soundscapes, Jenssen applies jazz-infused beat patterns and tones over sumptuous loops. The album opens in typical Biosphere territory, with a dense formation reminiscent of Substrata or Polar Sequences, but, just a minute in, a relentless bip-bop-flavoured beat kicks this comfortable setting in the balls and sends the composition spinning in a totally new dimension.

Jenssen applies similar principles to four of the five remaining tracks, yet, he finds a different way to cast his sounds and shape the mood of a piece with each new track. Dropsonde is a far cry from the impressionist touches of Shenzou or the barren backdrops of Autour De La Lune. Here, Jenssen embraces rich sonic formations, engages groove and applies lavish brushes and textures all the way through.

The only composition to deviate slightly from this template is the wonderfully smooth Altostratus. Here, Jenssen revives for a moment the mood of Patashnik by sending out electronic pulses above a sombre cloud of electronic soundwaves. It is no coincidence that this particular album is originally being released on vinyl. Adding to the mood is the album length itself.

No beats, no rhythm, no melody to speak of, just transcendent aural beauty. It's the kind of music that constructs soothing images in the mind's eye--which for me were of a deceptively desolate desert landscape at dawn, as viewed from the perspective of a driver who's been making an all-night trek.

She's been witness to the gradual brightening of the sky, watching the shadows appear and slowly start to edge across the distant bluffs on the horizon. It's been a long and lonely stretch, with nothing on the radio but preachers and country music to keep her company, but the miles have ticked down to double digits and home and breakfast isn't far away now.

The stillness and peace of the surrounding landscape as it warms to another day is awesome, overwhelming, stunningly beautiful. It's the kind of music that constructs soothing images in the mind's eye - which for me were of a deceptively desolate desert landscape at dawn, as viewed from the perspective of a driver who's been making an all-night trek. It's funny that that should pop into my head, because Biosphere is usually associated with the frosty fjords and snowbound forests of Norway, where Geir Jennsson the man behind the music makes his home.

But my mind works from its own experience: I've not logged much time in the permafrosted parts of the world, but I did spend formative years of my life in southwestern Arizona, and, later, made several drives through Nevada and down I-5 in California. You make do with what you have.

The lovely thing about Dropsonde, Biosphere's forthcoming CD release, is that it works with you to construct your own vision of peace and tranquility. Very highly recommended, especially for those of you dealing with stressful times ah, but who isn't? Geir Jensen setzt seine musikalischen Ausdrucksformen wohlbedacht ein und vermengt sie zu einem abwechslungsreichen Gesamtwerk. Zum Kauf dieses Albums wird also dringend geraten.

Nicht nur wegen des gewohnt tollen Cover-Artworks von Jon Wozencroft. Before starting his musical career, Japanese noise pioneer KK Null studied the jarring dance theatre known as Butoh. Characterized by their white-painted bodies and grotesque beauty, Butoh dancers are said to concentrate intently on an internal image and move in response to this inner vision. Audiences are not expected to know what the dancer is seeing, but to construct their own story for the dance.

Null's recent collaboration with Chris Watson Cabaret Voltaire and z'ev has a similar Rorschach effect. Like Toshiya Tsunoda's latest, Number One juxtaposes the natural and synthetic. But while Tsunoda practices minimalism, this trio creates thick soundscapes of crickets, thunder, elephants and manmade sounds that hum, grind and resonate. This is sound at its most visual, and every pair of ears will see something different.

Sanft hoppelnde Hihat-Sounds und Besen-Samples sind mit das Letzte, was man von einer Biosphere-Platte erwarten konnte, nach all den Jahren, in denen Jenssen sanft dem vertonten Nichts entgegen schwebte. Und dann das. Es gibt genug zu entdecken. Doch hinter dieser Leichtigkeit lauert erneut das Unbekannte.

It might be a bad idea to release two different versions of the same album on two different formats and only a few months apart for most artists, but something tells me that fans of Biosphere won't care. Geir Jenssen, the Norwegian father of ambient techno, has the pull and the following to do just that. While the LP for Dropsonde came out late last year, it boasted a mere six tracks of his masterful sonic waves. And while it's a great LP, you can never have enough of these hypnotic loops at your disposal.

So adding five more tracks, the CD version has enough drone to put you into a comfortable two week coma. The five extra tracks go a long way to creating a totally different feel for this alternative version to the LP. But even with the new songs and longer format, it's hard for me to come up with a new angle to take on this release.

Don't get me wrong, I think it's great and might even be of a more complete listen than the LP version. But maybe you missed my review earlier this year, so lets recap. Dropsonde is the aural equivalent to floating in a sensory deprivation tank. The music is so bleak and minimal that when it starts you could easily miss that it was playing at all. But slowly it seeps into you, it quietly creeps under your skin. The slightly altering loops will dig deep into your vital organs and start tugging ever so softly at your mind.

It happens so subtly that you don't even realize it, but you've become completely engulfed in Jenssen's world. Your eyes will softly roll into the back of your head and astral projection won't seem like a far-fetched idea. With almost twice the amount of tracks, and over twice the length, the CD version of Dropsonde might even be a better listening experience than the LP. Down tempo DJ's have probably bought up all the LP versions, so I'm guessing the CD version might be the only one you will be able to find these days.

But if you are into chilling out and putting on something to zone out to you won't regret picking this up for one minute. Though it is being touted as an effort to incorporate elements of modal jazz with the signature Biosphere "arctic sound," Dropsonde, put simply, is merely another strong release from Norway's Geir Jenssen and is very much in the same vein as previous releases, albeit with jazzier, slightly noirish overtones.

The first half of the album alternates between beatless, Eno-esque ambience and evocative, jazzier soundscapes featuring beats that reveal their vinyl source material. Much of Dropsonde sounds influenced, to some degree, by the Radiohead b-sides of the Amnesiac era. Like the Radiohead tracks, Dropsonde shows Jenssen not so much attempting to create an album of modal jazz per se, but rather utilizing jazz elements to infuse these tracks with a moody, smoky atmosphere.

Dropsonde, like previous Biosphere releases, is certainly characteristic of the artist's signature downbeat and trancelike sound, but the addition of sampled live instrumentation and gentle, brushed drum loops adds a warm, autumnal hue to these pieces.

Biosphere, like Brian Eno, has been a pioneer in the genre of electronic ambient music. Additionally, like Eno, Jenssen is a master of using music of a frequently quiet and unobtrusive nature to generate tension and an often palpable mood. Aside from his releases under the Biosphere moniker, Jenssen is an experienced soundtrack composer, having composed the haunting, icy score to the original Norwegian film Insomnia. Dropsonde, though perhaps closest, structurally, to the Biosphere release Cirque, is the artist's most melodic release to date.

Conspicuously moving away from the glacial drones and minimalist dub that was featured so prominently on previous Biosphere releases, Dropsonde shows Jenssen putting his compositional skills to better use, as well as utilizing a richer sonic palette than that to which we are accustomed. The album is an accessible and beautifully-produced recording that shows what Geir Jenssen is capable of when he allows his Biosphere project to thaw out just a little.

Because Geir Jenssen a. What follows is a variety of two different types of tracks. Several tunes combine sampled jazz beats with dancing hi-hats with the standard digital arsenal of looped organs, strings, etc. These tracks are not unpleasant at all, but they have been heard in one or the other variation many times over the last seven or eight years.

The drum samples are more tribal and the track is developing in an energetic way. For me though, 70 minutes are just too long when there are only four or five tracks that are interesting enough to disrupt me from my daily ongoings.

Whereas Jenssen had previously allowed his instrumental loops, samples and gauzy textures to traffic in hints and innuendos, here they become overstated and bluntly obvious. Melody is the focus, and while that's not necessarily a bad thing, this emphasis forces the loss of some of the brilliant sheen that made his other records so intoxicating.

Originally released as a six-song LP, the CD version of Dropsonde doubles the length of the vinyl and still manages to omit one track from the original release. The major problem here comes from the added percussion. While not affixed to every track, Jenssen's sampled drum loops sound as if they were stapled to his pieces as a mere afterthought, and generally his rhythmic counterpoints lack variation throughout the course of his tracks.

Previously cadences were implied, but here they come front and center. This isn't really bad, per se, and when the titular signature kicks on "In Triple Time," the effect is actually quite sublime. There are patches of brilliance throughout Dropsonde, however, even with the added skins. For those seeking a return to his earlier highlights, "From a Solid to a Liquid" capably soundtracks transference to melodic whisps, while "Warmed by the Drift" glacially stretches string tones to an effect that almost sounds like bowed ice blocks.

Ultimately, it would be horribly unfair to fault Geir Jenssen for attempting to reach outside of his soundworld in a manner such as this. After all, a lack of variation has undone quite a few musicians who haven't been going for nearly as long. However, much of the Biosphere catalogue earned repeated spins because multiple listens were necessary to fully grasp the intricacies of Jenssen's work. Here, the emphasis on modal structures reveals too much too quickly, and the loss of the subtle makes the album just a bit forgettable.

Still, it shows that Geir has plenty of tricks up his sleeve even after a decade and a half of work. Whatever comes next will undoubtedly still be worth a listen. You may recognise his work without knowing it, so frequently does it crop up on TV trailers and idents.

Jenssen's work acts on a very emotional level, one that encourages you to drift away into a haze of images and scenes brought to you by the music. Homework: www. The first of the nine movements forming the skeleton of "Autour de la lune" is somehow deceiving: a very long repetition of the same electronic ripple which had me thinking along the lines of "Geir Jenssen goes minimalist", pretty disorientating in regard to the total purity of the largest part of the following aural beauties.

But - having been Biosphere a class act for many years now - one doesn't need to wait too much to find a way through a mass of frequencies that are sometimes scarily powerful and all times absolutely mesmerizing like in the fantastic "Deviation", a vibrational kneading on the cerebrum to which anyone who listens will become addicted in a matter of seconds and that puts most of the sacred cows of the "inner spirit department" to a heavy shame.

At least 50 of the 75 minutes of this disc could be successfully used to cure nerve-related disorders; listening without headphones will add the resonance of walls and objects to something which - more than music - should be defined as evolutional phenomenon. When "Autour" reaches its conclusion, you'll notice your cochlea has suddenly become thirsty, for this is a milestone of contemporary electronica.

Space music? Then came Pink Floyd, Tangerine Dream and the late s ambient house extravaganzas of The Orb, but all of them made music more akin to mental space excursions than the real thing. And now we have by far the truest instance of bona fide space music in the history of sound. Biosphere is Geir Jenssen, Norwegian sonic explorer, mountaineer and creator of six albums of Arctic chill since His speciality is the drone; stretching tones as far as they can go and dropping discrete samples into the mix..

Sustained over six movements with names like Vibration and Rotation this is heady stuff indeed. The minute Translation gives you the genuine feeling of heavy mechanisms moving through the icy stillness of space. Glistening vestiges of sound and subsonic frequencies occur throughout, reminding us that in space the only sounds we will hear are our own.

Jules Verne spoke of the Baltimore Gun Club being the first people to send men to the moon. Being as it was during the nineteenth century, and, more presciently, being as it was a fiction, we do not of course accept this as being in any way real. However, its prophetic view of a future now past lends it a degree of reality, a resonance that we still sense today.

Hailing from Norway, Biosphere is known as Geir Jenssen within Earth nomenclature, and has an overriding obsession with all things related to space. Even his non-musical activities appear to reach for the stars: he is a keen mountaineer. Returning to his Jules Verne-inspired broadcast, he proceeded to further manipulate the recordings, tweaking and fine-tuning the sounds until they eventually became Autour de la Lune.

Listening to the finished product is rather like tapping into some late night extraterrestrial radio station; found sounds spun light years beyond their source. The journey to the moon, therefore, becomes metaphor with an inner bent: the path toward the self through the ages, that sepulchral globe as ancient talisman.

It is an extended organ exercise in which the organ, a man-made machine, transmutes into the organic, separating itself from the human world as if through constant manipulation a point is reached whereby the thing no longer is what it was; the sound takes on a life of its own. In forcing a cataclysm, the sounds may then breathe their own patterns, their singularly inherent idiosyncrasies. Distorted voices bubble away and project themselves into the eyes of what could be considered a cyclical, and psychical, Kansas storm.

But then it gradually manifests itself like too-near-orgasm-inducing foreplay as a destructively low drone, ripping at the air around the speakers; making gravity fucking bleed for its sins. The relief in the air is palpable, the sound waves nudging emotive molecules into balmy calm. The end itself must subsequently return to the beginning, a reprise of themes, a circularity; that silver globe perched maddeningly still in the night sky.

Once more we encounter a sustained organ pulse, briefly recalling Jim O'Rourke's 'Happy Days' before the sound cleans up, spreads out, disappears. Into nothing? Into space and time? A journey to the moon is currently a two-way affair, a there and back again. So is this LP, since it sets you on a journey that ends at the beginning. But like lunar exploration itself, you will discover something in the process, however intangible it may be, and the beginning of things will therefore be changed upon your return, made new again.

And that, through time and space, would surely please Jules Verne. There was something deeply nocturnal and gorgeously luminescent about the remixes of Arne Nordheim pieces provided by Biosphere and Deathprod on 's Nordheim Transformed one of Rune Grammofon's first and arguably most beautiful releases. Autour De La Lune sounds like the long-delayed successor to those pieces.

There is a degree of commonality between that project and this new release insofar as Biosphere aka Geir Jenssen has again chosen to respond to external sonic stimuli. In response to a commission for La Festival de Radio France et Montpellier, Jenssen samples dialogue from a dramatisation of Jules Verne's "De La Terre a La Lune", a nineteenth century story that accurately predicts aspects of space flight that would be unknown until NASA's expeditions decades later.

To these samples are added sounds captured by the MIR space station, which were then incorporated into Jenssen's own compositions. The result is a breathtakingly beautiful, haunted work which is divided into nine movements over 71 minutes. What is most immediately noticeable is the spare and spectral nature of this music.

One of these pieces might best be described as the sonic equivalent of the moon's milky white light; another appears to record the infinitely heavy transit of that globe as it arcs gradually across the sky, and another might be a spectograph recording of the moon's palest phase. Rather unsettlingly, these pieces in totality convey the impression that they are fragments of the moon, rather than songs to or about the moon.

Although attention might be drawn to Brian Eno's Apollo as a comparable endeavour, Eno devoted a significant portion of that recording to musical metaphors for the astronauts' navigation of the moon, which took the form of country-tinged atmospheres. Biosphere does something very different by expressing something like a lunar essence in sound, one devoid of humankind.

This is a subtle work of alchemical invocation which summons the moon into the listener's presence, even at midday. He has also been commissioned for his work. Autour de la Luna is actually the finished result of a piece Radio France Culture had asked Jenssen to do. From the way it sounds, Radio France Culture left the door wide open for Jenssen. Jules Verne originally wrote the program in the 19th century.

Some of the original broadcast is actually used by Jenssen within the album. Bits of radio cross talk and the white noise of failed transmissions are blended in with the pulsating and swelling bass tones. The first few tracks are nothing more than an ebbing and flowing of lonely vibrations, sucking you in to the idea of an increasingly cold and dark space.

And to be fair, you are going to have to be ready to be engrossed into the music. You have to be prepared to don your headphones and sit back for 74 minutes. Only a few artists this gifted in minimalism could pull something like this off. The unending drone of Autour de la Luna will not appeal to a wide audience, but that has never stopped the best experimenters of our times. In a career spanning nearly two decades, seven solo albums and a number of collaborations, Geir Jenssen has gone from one third of a pop outfit to being one of the most respected names on the electronic scene.

Having given up his archaeological studies to concentrate on music in the mid eighties, Jenssen was one of the founding members of Norwegian pop outfit Bel Canto, with whom he recorded two albums, White-Out Conditions and Birds Of Passage , before leaving to concentrate on his solo work.

His first post-Bel Canto album, The North Pole By Submarine, as Bleep, was heavily influenced by the late eighties house and acid movement, yet, it is with his second project, Biosphere, named after the Biosphere 2 scientific project, that Jenssen gained recognition across the board. If his first couple of albums under this moniker were still displaying traces of club culture, Jenssen was already moving away from straightforward dance music to explore more atmospheric grounds.

Around the same time, Jenssen released what remains his most accomplished record with Substrata. The original book, published in , was a stunningly accurate tale of a manned space mission as would happened a hundred years later, and was followed by a second novel, Autour De La Lune, four years later. For his project, Jenssen originally used a series of sample taken for the radio broadcast together with sounds recorded on the MIR space station.

The festival was eventually cancelled due to strikes, but the piece was broadcast on Radio France Culture on 21 September and made available for download for a while. Jenssen continued to work on this piece afterward, adapting it to release it as an album. Despite the bare sonic palette used, Translation is monumental and fascinating.

All three tracks are formed around a single infra bass drone, and appear almost static, as if frozen in time. Life returns on Disparu as Jenssen carves a repetitive melodic motif. Heard at close range headphones , a faint beat structure is actually perceptible in the distance as it waxes and wanes with the melody. They are also manifestation of Jenssen growing interest in electro-acoustic, as resonances and radio signals interfere with tonal textures.

As Geir Jenssen matures with every album, he continues to surprise his audience, and Autour De La Lune is one of his most evocative and thrilling records to date. Despite the austerity of this album, Jenssen builds on a rich emotional palette to create a stunning and dense piece of work. Geir Jenssen makes music that you feel as well as hear. A native of Tromso, Norway, Jenssen uses the Biosphere alias whenever he goes to work in the ambient music mines, and he dug up some especially heavy ore to mold Autour de la Lune.

Why all the French, one asks? Its smudged voices and rusted metal beats materialize out of crackling fog as eerily as anything on The Conet Project. Coherent, complete, and not a minute too long despite a running time of almost 75, Autour de la Lune is a deeply affecting and unabashedly lovely recording. Like his fellow Norwegian Helge Sten Deathprod, Supersilent , Biosphere makes droning ambient electronic music that is deep, dark, and huge. While you might not recognize more than a few snippets of the story's dialogue buried behind the album's thick and ominous soundscapes, the music definitely evokes the loss through tragedy of an age-old romantic fantasy of space flight.

One can imagine the sustained roar of burning rockets, the rumbling of a spacecraft escaping from the Earth's atmosphere, and the terrifying silence of outer space. Pretty intense stuff. As a young man I had children versions of some of the Jules Verne books and one of them was the journey to the moon story. As a young man I liked learning about our solar system and the planets and so I liked this particular Verne story a lot, which is a true visionairy one or maybe the later scientists were Verne readers and modelled the Apollo after Verne's design?

In any case, Radio France Culture asked Geir Jenssen, aka Biosphere, to use their archival source material to compose a piece and Geir choose the Verne story to set to music. The travel starts with a twenty some minute intro, that lifts you up and then the journey starts.

It might be no surprise that this deep ambient with capital 'D' and capital 'A'. Very low end bass sounds and high end pitched sounds pushed to the back, this is the ideal music to listen on headphones at night, on you balcony, watching the stars. It's both the sound of a spacecraft as well as the sound of weightless space.

From Ri. During her stay in Barcelona, she will record for Belter, which distributes the Ri. Fi line in Spain. He is expected in Milan on Oct. Another important show will be televised from Switzerland all over Europe and will be tape recorded in Campione Switzerland at the end of Oct. The two Durium artists who took part in the Festival of the Neapolitan Songs which has been held in Naples this month, have both entered the final night.

Pablo and his orchestra have a IV show every Saturday, playing modern rhythms for teenagers, and are now recording a new long play with go-go rhythms at RCA. The American label. Red Bird, -will be distributed in Mexico by Grever Publishing, along with foreign recordings and also new Mexican artists accom- panied by big international orchestras.

Lucho used to record at Musart Records. It is reported that Prado is out of danger. All the recording companies and several TV musical shows are playing these rhythms successfully. Radio stations that play this type of music are on top. He also starred several shows at the Gran Rex theater and dance parties at Velez Sarsfield and Independiente. His performances were well received and will surely mean good promotion for both the artist and his music.

Visitors and representatives are expected to arrive on or before October 3. The first official event will be a cocktail party hosted by the Federation, at 9 PM. Regular meetings will take place in the mornings and afternoons till closing Oct. As we reported before, Rosso expects this one to be the biggest meeting of all those held by the Federation.

Reports from CBS state that records by Mr. Trombone, a local artist cover- ing international hits, are reaching high sales. The latest waxing by Mr. The diskery is preparing for release this month, new albums by Los Fronterizos, Brazilian star Ellis Regina, and the Mary Poppins soundtrack. French artist Michel Cogoni will be arriving m Buenos Aires at the end of the month. Los TNT recently returned from Europe.

Received from a Disc Jockey a wonderful album devoted to music written by the late Francisco Canaro, and recorded by chanter Jorge Sobral with the Osvaldo Farantino Orchestra. Sobral has been developing into a very strong artist, and is currently one of the top names in the tango field.

Michael Davis of Famous infos that the latest single by British group the Hollies, is racking up sales. An album recorded by the Acupuleo Serenaders, already renorted in this column, is doing well, and the label expects to release another LP by the same artists, soon. The favorable achievement was re- ported due to the several local hits made by newcomers Teruhiko Saigo, Katsuhiko Miki and by leading singers like Saburo Kitajima and others.

Peggy March, having come here this May and having achieved popularity, especially among student girls, will reportedly pay a second visit at the end of October for a two-week tour but, the content of the performance is un- decided. Her noDularity is expected to grow further on her re-visit to Japan.

Frank Nagai. During these years, he has made more than 15 hits, of which a few were million sellers. Hajime Yamazaki, chanson singer, made his debut through King Records with a recommendation of chanson lark, Yoko Kishi. In the second part, he played local Japanese hits.

The Honeycombs reportedly had many successful concerts and TV appear- ances in Japan and left here at the later of August. During their stay, they had two recording sessions at Nippon Columbia No. Also they had a recording session in public at Tokyo Sankei Hall with a gathering of thousands. These recordings are scheduled to be released soon. Since its release on June 10, approximately 10, copies have been sold to date, Nippon Columbia says. The movie is scheduled to be released during the forthcoming Xmas season in Tokyo, Osaka and Nagoya.

It seems that records coupled with a Japanese version and a foreign version of one song are doing well. Tears sung in Japanese and English by Johnny Tillotson, is also climbing the charts. Bobby was completely overwhelmed by hundreds of fans to welcome him at Tokyo International Airport. In October, one great singer and one famous folk group will come to Japan.

The trio will come in the early October and Connie will be after them. The trio had once visited Japan 4 years ago but it was not a concert-tour, so their fans are anxiously awaiting their performances. And talking about Connie, it is certain that she will have a great success because of her great popularity in Japan and her wide reper- tory of Japanese material. For the first time in several years the single record made a slight comeback and a gain in sales over last year.

The LP continued its sensational gains, and more records were sold over normal distribution channels and distribution outside of record shops, meaning mostly the record clubs. The figures in brackets are sales outside of normal record shops. The increased sales over record clubs is also interesting. The 10" LP is a dying thing. Of course, the classical business in Germany is still top notch and this chart shows that both pop and classical divisions had an LP increase of 1.

Classical Music Jan. This eliminates the need for double release and press- ings. On the production side of the picture Export wise, only the LP was able to list gains. The warehouse control showed that 9. All in all, the record business picked up in despite the strong competition from the tape industry and many other factors.

Of course, on the darker side of the picture money wise, much of the LP gain can also be credited to the low priced LP series which has become a strong factor by every firm here in Germany. An item which drew headlines in the trade papers here was the switch of Poly dor top star Peter Alexander after 11 years to Ariola.

We reported on a possible switch some time ago as Peter signed a long term film contract with the Constantin Film which also belongs to the strong Bertelsmann firm which also owns Ariola. The pavillion was made up of one stand containing record players for listeners with earphones and a large phonograph decoration compared to strong separate stands for each firm at every Fair up until this date.

The trade paper asked that in this crucial time for the record business and with a fair which drew over a half million people, can the record industry afford such a weak show? CBS set up a press conference in Frankfurt for the new single by former world cham- pion ice skater Marika Kilius. At the moment on the third spot in the charts here, sales figures are growing every day. Also their new album with the same title looks like a sensation on the Finnish market.

The Three Voices is a new local hottenanny group, just making their debut on Fontana. At a recent meeting with radio and TV people from Denmark, Norway and Sweden, it was discussed if Scandinavia should withdraw from the future spectacles or not.

Cash Box has learned. Behind the displeasure with the Con- tests is a general feeling here that it has turned into something too commer- cial for non-commercial radio and TV countries. There has been a Scandinavian suggestion that the juries during the Contests should be composed by music specialists composers, music critics, etc.

Also the rules for the contest should be changed, the Scandinavians feel. It should be said clearly in advance whether the contest is arranged to get a commercial pop song or if it is arranged to get the best song, which might not always be the same thing. It is known that Denmark wanted to withdraw from the contests after having arranged the spectacle in Copenhagen in , but at the time Finland, Norway and Sweden wanted to try once again to see if there was a chance to solve the problems one way or another.

Billy Vaughn was in town. His arrival and stay in Stockholm was given very little publicity by the record company handling his records in Sweden. Michael Ramel, 16, is a new name on records here. His father, Povel Ramel, has for years been a fast-selling name on records and as composer, lyric-writer and show producer. Senior and Junior Ramel will be heard on the same record, made by Knappupp. Gillon is being published by Modern Music AB.

Diamond Duke. Dunhill Dynavoice Epic. Four Corners Freeport ,. HBR Imperial. Joda 91 85 There is a good chance the very talented gal will be booked for further guest shots on the Buck Owens tour, and an American recording contract could also be in the offing. Costello can be reached at 62 Third Ave. Tom has been set by Station Manager, Bob MacDonald as a key news personality on the outlet, the one remaining pop music outlet in the mid-west metropolis.

Tim is now host of the nightly 6 to 9 PM segment on the big L. Tim makes the L. Watch out for left field action on a new Liberty outing by Ken Dodd. The set is topping everything else at Victor currently in sales reports Stan. It is also a big winner on that aH- important U. Meanwhile, things at RCA Victor are in high gear with one winner right after another throueh their recent Dunhill affiliation. Sloan is one of the real big action singles currently at the label.

Leeds Music man. A1 Allbutt, has a feeling one of his songs recorded in Canada by the Just Us group on Quality has been set for American release on the Regina label. The stations across Canada are cheering or crying — as the case may be — with the release of the most recent B. The Ivy League, thanks to the joint efforts of Roland Kluger, World Music publishing house and Roger Meylemans, manager of Vogue, which distributes the records of the Ivy League in this country, the highly successful trio will come over to Brussels where they will appear on a 'TV-show to be recorded in the American Theatre.

Both firms will launch a thorough promotional campaign to coincide with this visit. The chanter was first over here for a TV appear- ance and after-wards he returned to Brussels, where about a dozen radio sta- tions were waiting to interview him. Roland and the Bemols, an Antwerp e-roup, cut a recording for Vogue. Teenbeat, an outstanding music magazine of Dutch origin, has just an- nounced the results of its popularity poll for Liliane 1.

Sandie Shaw female Tonia 2. Brenda Lee 3. Claudia Sylva 3. France Gall Singers 1. Adamo 1. Elvis Presley male 2, Will Tura 2. Cliff Richard 3. John Larry 3. Roy Orbison Duet or trio 1. Duo Acropolis 1. The Shadows 2. Trio Cassiman 2. Peter and Gordon Guitar group 1. The Jokers 1. The Cousins 2. The Spotnicks 3. The Jumpers 3. The Ventures Beatgroup 1. The Jumpers 1. The Beatles with song 2. The Jokers 2. The Rolling Stones 3.

The Cousins 3. The Kinks Radio program 1. Toppers for teenagers 1. The Beatles Show Veronica 2. Shake before use 2. Hits for the future 3. Joost Knows It Radio station 1. Regional network 1. Radio Veronica 2. Belgian Radio 1 2. London radio national network Disk jockey 1. Jan Theys 1. Joost de Draaier 2. Guy Mortier 2. Jimmy Saville 3. Jacques Verdonck 3. Guus Jansen Jr.

Chuck Berry 2. The Supremes TV-programme 1. Tienerklanken 1. Age tendre et tete de bois 2. Bonanza 2. Top of flop TV -personality 1. Armand Pien 1. Herman Stok 2. Nicky Bovendaerde 2. Danny Kaye Film star 1. Elvis Presley 2. She went to Berlin to record some German songs for Teldec.

They will probably make a new tour in this country during the month of February. In a few days they will record a new single. Barclay is also going strong with Zorba and, among the recent releases, a new outstanding group The Knacks is definitely a sure bet.

Peter Plum Publications are already in full swing to launch, in Belgium, some new songs for which sub-pub rights have been acquired. Twelve new Aznavour songs will naturally get their usual strong publishing back-up during the winter. The group specializes in modern Dutch contemporary music and the label released their first album earlier this year. Kurt Redel was to conduct a performance of this beautiful Passion music in Holland that week, wtih Dutch and German solo- ists.

In , Philips issued a complete two-LP recording of the St. Mark Pas- sion. The Firato, a large annual exhibition of the latest de- velopments in TV and sound-reproduction, includes a show attracting hundreds of thousands of visitors. A press conference held at the Presidential Suite of the Amsterdam Hilton was a great success.

The Three Jack- sons were offered tape recorders, checks and smaller presents. Phonogram re- leased a special Three Jacksons LP for the occasion. Herman Batelaan, manager and coach of such popular Dutch artists as Johnny Lion and The Jumping Jewels, introduced a new singer and a new band. Both the chanter and the group have made a record debut for Philips.

The LP from which the singles are called from has been released now as well. Negram is very happy to announce that some important visitors will be their guest at the Grand Gala Du Disque Festival Jim Bailey from Pye Records comes over, for the first time after his move to Pye, to see what is happening on the Grand Gala. From Germany Negram welcomes Dr. Werner Vogelsang, Mr.

Friedrich Schmidt and Mrs. Hars-Georg Elmke. From the States Mr. Billy Vaughn will come to Holland for a three day visit to make himself more familiar with the developments in this country and he also will attend the Grand Gala Du Disque as a special Negram guest. In the record market there is fantastic news from Negram for the very near future. From both of these performances came new LPs. In that city, will be held the first Festival International du Film of Rio.

We received news this week from: Vogue International. Before he left France he recorded a new LP. He will record songs in many languages. Ronald Carter bass and Herb Hancock piano. In close cooperation with Columbia International Pictures Holland local press was provided with a review copy of the album at the press-conference given after the preview of the movie.

Indications, based on a healthy effort and accomplish- ment during the concluding summer months, promise far greater accomplishment during the indoor fall and winter seasons when coin-operated equipment sales and route collections are normally at their peak.

Creative ingenuity and mechanical improvements evident in our music, amusement and vending equip- ment today, plus the application of more sophisticated operator-location dealings, all provide the insurance needed for piping the tinkle of coins into the cash box for the enfolding fall and winter seasons.

The music operators who attended the record break- ing MOA Convention and Trade Show in Chicago last month were greeted on the exhibit floor by an imagina- tive array of new machines and supplies released by our manufacturers. This variety of equipment in itself pre- sents probably the biggest boon for the trade toward tieing down a successful business season.

The very first and foremost consideration for all seg- ments of the coin machine industry everywhere is that business has gradually been on the increase over the past few years. We hope it will mushroom and soar even more this fall.

All indications say that it will. Just bear in mind that there is every reason to feel that sales and collections in all areas should be at their peak at least for the coming seasons. The equipment is there — the location customers are waiting — take that positive approach.

Offering a discotheque motif over a night club backdrop, the new Electra utilizes black light to create an un- usual fluorescent effect on its decor- ated panels. Cameron Gordon declared. Six 5-inch high frequency speakers three for each stereo channel are arrayed across the top of the cabinet and two inch low frequency speak- ers at the bottom front of the Electra.

Cameron Gor- don. We have brought our industry and its members the kind of product that focuses attention on their posi- tion as purveyors of entertainment to all kinds of people in all kinds of The top view of the new Seeburg Electra shows the interior of the ma- chine completely exposed.

A top panel lifts up to provide access to the title strip area designed to permit quick change of records. A top front panel also raises to provide access to the mechanism and electric selector which features the Tormat Memory Unit. Lower cabinet doors swing to side to permit access to all electrical com- ponents which may be removed via slide-out chassis.

Even the chassis themselves are painted an orchid- hued color in the new phonograph. The bottom of the photo shows six of the speakers that are arrayed across the top portion of the phonograph cab- inet at ear level. These six speakers are used to reproduce the high frequency spectrum of stereophonic sound. Two inch speakers, located at the bot- tom front of the cabinet, are used to reproduce the bass frequencies.

We continue this pionering concept with our new phonograph that offers the finest in sight and sound enter- tainment. Our pioneering in sound engineering has culminated in our current model. Four color printing was not enough to do the reproductive job. Our brochure uses no less than twelve color impres- sions. In addition, it is not designed to sell the operator on the superiority of our product.

He knows that al- ready and his purchases of our equip- ment, here and in other countries, at- test to this superiority. Discotheque did all of this. It is the finest thing to happen to our business in years and this form of entertainment is just now hitting its stride. America loves to listen to music and to dance. It is heart-warming to see how our phonographs, and our See- burg Rec-O-Dance stereo records have been accepted in Europe.

Its sleek silhouette. The sides of the cabinet are of Decarlite in a harmonizing blue-grey. This is the famous surface that resists scratching, burns, stains and even sunfade. This new Electra looks like fun. It sounds like fun. It is fun! Until Electra, there has not been a phonograph like it to deliver such a dimension in sound — and look the part too. Electra is the perfect marriage of sight and sound. The entire lower cabinet compartment doors open to expose electronic units, interconnecting cables, coin equipment and the two l2-inch speakers.

The standard model is called the Electra while a deluxe model is named the Fleetwood. Lou Nicastro. These two features are not available as ac- cessories on the Electra model. Re- mote or stepper units for both models will be available as accessory kits. The new phonograph models will be introduced internationally in the next few weeks, with specific dates to be announced shortly. The intricacies of 8-track, multi-phase stereo recording techniques are ex- plained by Seeburg V.

Bill Prutting left during the Electra showings. Prutting is in charge of the stereo Rec-O-Dance record program for the firm. Distributors take a luncheon break during the recent meetings held by Seeburg in the Drake Hotel.

They were also treated to previews on other new Seeburg equipment including their new coffee unit during the meeting. Glows like a starlit sky. Draws patrons with its amazing new look. And only locations can have it. Cash Box — October 9, Casi 64 the nete to listen to - to dance to- that looks like a Discotheque should. Here is the sweeping color, the exciting glitter and glamor, the Big Sound of big-time entertainment. Seeburg Built! Seeburg Sound! Atlantic New York Corp.

Coleman, Seeburg board chairman, at a receni: press conference. Coleman and Sidney M. Katz, Kay president, conducted the conference jointly for representa- tives of music and entertainment trade publications. In addition, Seeburg will now be in a position to produce a broader category of musical instruments, including the instrument that is continuing to show the most dynamic sales growth in the field — the guitar. Seeburg was founded in as a manufacturer of piano actions. During the next half-century the company became the industry leader in the pro- duction of coin-operated phonographs.

In , When Coleman became president of Seeburg, he initiated a program of diversification to trans- form the company into a full-line man- ufacturer of all types of vending ma- chines. The musical instrument division was established in Today, Seeburg division manufac- ture vending equipment, coin-operated amusement devices, and hearing aids. The corporation has moved into the field of publishing and recording of music, primarily for use in Seeburg background music systems.

Lo- cated on TV 2 acres, the new plant has , sq. The company employs skilled pro- duction workers and office and clerical staff. The company was originally known as the Groeschel Company. Its prod- ucts at that time were limited to bowl- type mandolins, which are no longer manufactured. Guitars and banjos were added to the line in , the year the Groeschel Company became the Stromberg-Voisinet Company.

Kay is noted for many industry firsts. In the company introduced the first successful application of molded plywood in fretted musical in- struments. It has since developed and perfected the process, which elimi- nated cracking and warping and as- sured consistently full, rich tones.

Other industry firsts with which Kay is credited include the machine head for cellos for easy tuning by stu- dents; the 5-string bass conceived by jazz musician, Chubby Jackson; the Ray Brown jazz cellos, and, in , the first plastic carrying cases for guitars. Taking a mo- ment out to pose for the camera are left to right Marty Toohey, regional V. Photo at left shows G. Gauge and Mr.

Stanley Warner of Saginaw, Mich. East, Syracuse 3, N. Joe Fillitti, Mrs. Seeburg History Cont'd opment of new and better items. The Seeburg facilities will now be avail- able to further enhance Kay product lines. There is a trend on the part of large firms to be- come active in the musical instrument industry. The acquisition of our com- pany by Seeburg will mean that an- other major firm has chosen to more aggressively manufacture and mer- chandise musical instruments. Recognizing this, Kay has become part of this trend through its merger with Seeburg.

A Profit Package for You! Staples, Corpus Christ! Washington St. Struve Distributing Co. Ah, the sweet ring' of honest silver dropping into the bag! Pling, Pling, Clunk! Wait a minute. Another bent coin, another damaged coin. Just as bad as a slug. The bank will take care of it. So off he goes, weighted down with cash. He hands it over the counter, smiles, and goes home.

One week later: same scene, same location, same machine. They knew a whole lot about bent coins. The bank will then send it back to the U. Millie points out that the State Liquor Convention will be in the hotel and that all interested can go from one confab to the other. Everybody get ready! Not only do the chilly winds blow ever fiercely, but a beer famine stalks the frozen plain. The beer strike, now in its sixth week, has knocked merry Matilda out of tavern revenues and machine collections — with no settlement in sight.

Western Auto Vending, operating many machines as well as being distributors for Seeburg equipment, have felt the pinch. And a post office post office? Sinai Hospital last Monday. Put your feet together. Together, Sam. Now shake your shoulder — no, other shoulder. Sam, get serious. Stop wiggling your ears. New games un- veiled at the MOA show are already moving fast, trailing excellent sales figures after them.

Al says the Rock-Ola dividend special package program is back again this year, with prizes of TV and hi-fi sets for the men who sell the most. Congratulations to Ben Coven, who joined the firm of Bernstein and Ganellen in the general practice of law. Ben, former distributor of Wurlitzer phonos in Chicago, was a practicing lawyer before he entered the coin machine business. Latest reports from the midwest strongly indicate that the action is very good indeed. Nate Victor, of S.

London Music Co. Operators motored in from every nook and cranny in Wisconsin to view the line and place their orders. Edward G. Doris, executive vice prexy of Rock-Ola Mfg. Also, business has been so very good at Rock-Ola all year that it has been practically impossible to amass an inventory of phonos or vending machines. Les Rieck squired a large party of Rock-Ola distribs who made their quota this year on a tour of the European Continent.

The party departed September 20 and is due back around the 5th of October. Meanwhile, back at the plant Adchief George Hincker is burning the midnight oil keeping ahead with his pi'omotions. The big word at D. Sam Gersh, Bob Fabian and. Plucky Stan Levin is headed to Upper Minnesota to hunt wild geese and ducks.

Chi operator Barry Menconi recently peeled off some 77 lbs. John Zagelin, of Lieberman Music Co. Johnny was all set to go on a hunting trip but had to postpone it. Over at ChiCoin Phil Schwartz reports that the sales action continues very good on the complete line of ChiCoin amusement games.

Phil Moss Co. Glenn Miller, of Seeburg, conducted the classes on the new Seeburg coffee venders. On hand were prexy Phil Moss and Joe Blend. Frank Schroeder, of Fischer Mfg. Jack Burns is in Europe with the Rock-Ola distrib junket. Production has been considerably stepped up in the factory. Hastings Distribs held a service school class, Sept.

Refresh- ments were served during a break. United, Inc. Chuck Meyers was also due back in the offices before motoring out again to cover the northern part of Wisconsin. Russ and Reid Whipple tended to sales at United during their absence. Between sniffles due to a nasty cold Joel stated that truckloads are being received almost daily from the factories. Orv is enjoying terriffic collections regularly.

Southern Automatic Music Co. Brook St. Lisbon Ave. Southeastern Vending Distributors, Inc. Among the artists who apeared were. Bob Holland, president of the association, was in charge of the festivities and Bill Brown was master of ceremonies.

Bob and Frances Scherb of the firm both attended the recent showing of the new Seeburgs held in San Francisco. We hear that other highly successful showings of the Seeburg phono and coffee vendors were held last week in L.

Stan Larsen of Struve Distributing reports the L. Seeburg regional rep. George Muraoka of Simon Dist. George is busy trying to locate enough used phonos and games to fill orders. Another export shipment left for the far east this past week. Jack Simon has just returned from a busi- ness jaunt to Miami, Fla. Pool tables, according to Jim Crosby at R. Jones, are brightening the sales picture at that firm. Jim Jr. Speaking of phonos, we hear that the plushiest discotheque in town is the Daisy in Beverly Hills.

Ken Siler at the Wurlitzer Factory Branch tells us that sales are steady with an increase in action in the parts department. John Morris recently covered the desert area and Maxine Shiffer and husband enjoyed a weekend fishing trip to Lake Isa- bella. Showing of new model Seeburg King of the Road by H. Off the cuff comments in- dicated that most operators preferred this more leisurely showing to the con- ventional one day more elaborate ones.

Choice of days, more time for closer examination, more individual attention from less harrassed and hurried service- men and demonstrators were some of the reasons given. Hoddy Franz, president of H. Blankenbeckler, Seeburg regional vice president, together with sales, service and office force of the local concern labored jointly at making the showing a good one.

Mid day barbecue luncheon and refreshments were served 12 PM to 2 PM each day. Old time, big time local operators conversed with during Seeburg new model showing included. Cooper, Ben J. Kelly and L. Top honors for youngest attender of the show went to beautiful little four months old Kimberly Ann Bruner, daughter of local coinman George W.

Bruner and charming wife Novice. Another outstanding person present was Mrs. Hammond, one of the very few women operators in Texas. Bob Moore, vending sales representative, Duncan Foods Co. Edward Carlson, Detroit, Mich. John E. Kags, Seattle, Wash. Millinette N. Gore, New Orleans, La. Charles Rose, Fargo, N. Anthony V. Jerard, Chicago, Humbert Betti, Union City, N.

Fred F. Fixel, Pembina, N. Kenneth A. Mort Weinberger, Louisville, Ky. Alfred Wm. Blendow, Sr. Wallace, Oak Hill, W. Albert S. Levy, Dayton, Ohio. Kapilla, Staunton, Frank R. Fabiano, Buchanan, Mich. John L. Tempfer, Altus, Okla. Mark Y. Blum, Wichita, Kansas. Steed, Clarksdale, Miss. Joe Broadbent, Anchorage, Alaska. Janssen, Shreveport, La. Roseboom, director of public relations and promotion ; Anthony S. Ferrara, administrative assistant, Robert E. Romig, secretary-treasurer; Albert L.

Wertheimer, executive assistant and Harry Wertheimer, sales vice-president. Davis Distributing Corp. Among the Wisconsin operators who attended gala preview were : Mr. Mike Schmitt of Schmitt Bros. Minneapolis, Minn, was a huge success.

Refreshments were seryed all day through the showing and the turnout of operators was far aboye expectation especially because of the rainy weather during the three days. Arnie Tessmer, 1. Ike Sundem, Monti- vedio, Minn. Jim Stolp, Bob Carlson, Mr. Wedding planned for November. Stan Baeder, Fargo, in town for the day picking up parts and records. Lloyd Morgan and Mr.

Larry Rathke, Rapid City, flew in to the cities in their own plane and spent the week here, flying back Monday afternoon. Gene Hoerth, Herried, in town for the day making the rounds and picking up parts and records. Roy Foster, Sioux Falls, in town for the day picking up parts and records. Dean Schroeder and Earl Porter drove in to town for a few days to see the Twins play but no games due to rain. Mike Imig, Yankton, in town over the week end.

Flew in and flew back Monday morning. John Zeglin, Lieberman Music Co. Clayton Norberg, Mankato, and Hank Krueger, Fairfax, take off next week for their yearly trek to Canada for goose and duck hunting. Noel He'fte, Grand Forks, in town for a few days visiting their children.

Lorando Olson, in town for the day picking up parts and records. Clayton Norberg in town for the day picking up parts and records. Arndt Peterson, Sanborn, in town for the day. Seeburg Music! Hungerford, NAMA executive di- rector. Discussing the problems and possi- ble penalties which may face vending operators from the applications of the Fair Labor Standards Act will be NAMA labor relations consultant Dr.

John W. Dixon, president of Model Vending Controls, Inc. Dick as executive vice president. The company distributes Change- bank dollar bill and coin changers, manufactured by its parent company. Transmarine Corporation. Daniel Kay was also named distrib- utor sales manager of the company and a new field service organization was launched under the direction of vice president David.

Dick has had extensive industrial mid consumer marketing experience,.. Judges of the contest also chose six runners-up. The first Grand Award winner will receive an all expense trip to the annual convention at the Ambassador Hotel, Los Angeles, California, Octo- ber The six runners-up, who will re- ceive Merit Award plaques for their entries, are: Philip L.

Al- fred H. A good feature of this program will be quick replacement of components if necessary. The Utility line, designed for econ- omy, includes a dollar bill changer, a combination dollar-bill-and-coin changer and a coin changer.

Instant Yuban now comes in a com- pact jar — the first in the coffee indus- try. It will be available in 2 oz. Both the regular and instant Yuban compact jar are done in wai-m gold, brown and white tones, and feature a housewife drinking a cup of Yuban coffee. Distribution will be supported by a high level of national network and local spot TV advertising, full color ads in Life, November 5 and 26 and Sunday supplements from October through November. A loaded magazine may be in- stalled quickly while an empty one is taken away for reloading at a cen- tral point.

Electrically reversed motor prevents jack-potting. The Professional line includes a va- riety of payout combinations. These large-capacity machines have motor- driven payouts and removable maga- zines. They are intended for vending establishments of all types having heavy traffic.

Gessner has been promoted to vice president and director of operations for Macke Serval Vending Company, South 20th Street, Harrisburg, Pennsylva- nia, it was announced by Sidney Coplin, president of the company. Gessner, since joining the company in , has served as a route sales- man, warehouse manager, and for the last three years as operations mana- ger.

In his new position he will be responsible for the operation of the warehouse and commissary, including purchasing of all supplies and mate- rials. He also will be responsible for vending route organization from the hiring of personnel to the assigning of routemen and routes. Macke Serval, one of the largest vending companies in the Harrisburg, York, Lebanon, Sunbury and Chambersburg areas, operates a complete vending service consisting of over 2, individual vending machines.

Marion McDonough Cotter. In , Cotter joined Wurlitzer, as assistant credit manager. Prior to at- taining his last position he served as a staff assistant and sales and service representative of the Export Sales Department. Cotter, who was born in Buffalo, was graduated from Fosdick-Masten Park High School and the University of Buffalo, where he received a degree in business administration.

Surviving, besides his wife, are a son, J. James Jr. Miss Patricia A. Purpose of the conversion drawers is to enable distributors to offer more to operators for trade-ins on old coin- operated pool tables. To explain further, according to Schroeder, it is now possible to easily convert coin-operated pool tables to attractive non-coin operated pool ta- bles to be placed on the market for home consumption. Schroeder explained in conclusion that this surprising innovation in pool table equipment will certainly open up a new market for both operators and distributors in the disposition of used equipment.

Going into a concentration crouch, a young player lines up a shot on a Fischer Rebound table at the St. Francis Indian Mission, St. Francis, South Dakota. Manufacturers have not authorized prices where no price Is shown M. Nat'l Sales Agents. Duncan Sales Co. Nat'l Sales Agents, Scopitone, Inc. Model Pastry.

Save Our Business U. PAUL W. Caravelle 20 Col. Model Sel. Starlet RPM St. Stereo Speaker Wallbox 3 level personal pushbutton volume control Model Sel. Wallbox F Sel. Everpure filter. Single cup, fresh brew, serves coffee and tea 4 ways.

Model — as above, without 4 way tea feature. Serves coffee 4 ways. Convertible to , and selections. HAC Hideaway, Sel. HFB Hideaway. CFD Stepper. WQ Sel. WQ SpI, W. Mounting Bracket. EX-6 0 Cylindrical Wail Speaker. EX Wall Speaker. L Ceiling Spkr,, Choice of Grille. Rivera Cigarette, 20 sel pack.

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Absolutely terrific performance, so much pure skill. This performance was recorded when I was 23, and I started learning card manipulation when I was 13, but I started reading magic books when I was seven years old.. One of the best acts I'v ever seen in that category. I've seen many other acts like yours, and sometimes it's not hard to spot their mistakes. But you Sir earned my respect I'm learned card tricks and manipulations too since a few years, but I am very very far away from your level!

So consider yourself my idol! I know so much about magic, but when I see masters like this I'm just blown away. You cannot imagine the amount of work that goes into a presentation like this. Every time I watch this video, I am amazed with his performance. The way he does the tricks with such simplicity. And also the music really compliments his performance!!! A ver que tal el programa que comentas, aunque yo prefiero ir a verlo en directo.

Enhorabuena de nuevo. Hi Eduardo! I am just starting out with card manipulation and I am hoping to buy your DVD soon! I would like to ask you if you have any tips for begginers. I practice and practice but I am still very sloppy. This is one of those acts where you spot where a couple moves happen and you go "Okay, I think I've got a handle on this.

Wonderful job. Great performance, amazing music. I like that you came up with something new and different. I'm a big fan of magic, especially card manipulations, even I'm trying to learn some manipulations but I'm only the beginner. I love how he is always smiling and is slow but smooth.

I just wish I had any where near this kind of talent, If I could learn to do the trick from to that would be more than enough for me lol. Awesome performance!! Nice job. Hope to watch you performing a card manipulation act soon :. I love magic. That was the best card act I've ever seen, and I'm very old and have seen many. Gracias por el comentario disemiau. Really well executed In front of the stage you can't see anything of that It sure takes some serious skill and training.

You are so good! A true inspiration for me! And by the way, an absolutely elegant performance! Spawn of Demons! Too beautiful and too incredible to be real! Congrats, Eduardo! You are awesome. I love it how you can still smile at the same time doing magic tricks in front of those "high-class" people I love how you reply for most of the comments or queries asked here.

Truly appreciable! Thank you so much Eduardo! I bought your DvD last week! Love the illusion hate the camera cuts. Manipulators demonstrate there skill at handling cards, Balls, etc. Magicians create magic by plucking cards from the air, making things appear and transpose, etc. From what I saw, was a young person showing how clever he was at concealment, and recovery. I watched the video without the sound on, it gives less distraction. These of course are my opinions gathered from magic publications I have studied over the years.

I did not note, one plucking or pulling of anything from thin air. Another way would have been with the wave of a hand toward the item. I did not witness this either. Thus I consider the very good manipulations. I think what makes me think this is when he removed a playing card from the back of his hand.

Then repeated it. If he would have shown the back of his hand empty prior to the removal of the card, that would be magic, but all he did was show the palm of his hand and remove a card from the back of his hand. I thought so what, not very magical. His multiplying cards effect was not Christian's, but Marko Tendo's, just to make note of the material. Some say the new Sphere contact Juggling is or would be considered magic, I would not. I would consider it manipulations.

I am in no way saying that Eduardo Galeano is not good or well skilled, I just do not consider the act a magic act. It is very good manipulations. Example: A manipulator does the arm spread and catches the card when the arm propels the cards into the air. A magician performing magic does not usually do this stunt.

It is a stunt and not magic, therefore, it is manipulations. Patrick and his crew really know their job and if Eduardo got a chance to perform there then he is for sure a great act. Masterful and elegant! A truly magical performance. DOn't mind what anyone ele says- you earned your spot at the Grand Cabaret. It looks magical for me, as it does for many others. For sure monsieur Sebastien did not call him into the show because of his awesome palming skills, flawless steals and ambidexterity.

But what do I know, lol. Please enlighten us about the diference between a "manipulation act" and a "magic act" 'cause that made me curious. Bill, you cite the following as an example for labeling an act a manipulation act rather than a magic act "A manipulator does the arm spread and catches the card when the arm propels the cards into the air. But how else would one display the cards after they appear? Card players--whether they play poker or "Go Fish!

They do this not as a demonstration of skill, but simply to facilitate easily identifying the cards in their hand. Many decks of cards that are sold in department stores are packaged in a drawer box. It would be easy enough to gimmick one of those drawer boxes so that the drawer can be pulled open and shown empty, then closed and re-opened to show that 52 cards have appeared.

Would you consider that effect more magical than producing cards at the fingertips? To my way of thinking, if you can produce the cards inside the box, then you should also be able to magically produce the box itself.

Some of the fairly universally acknowledged great, classic magic acts--Cardini, Pollock, Hart, Silvan, McBride--contain generous doses of manipulation. Yet I think most of us would agree that they are among the most respected magic acts in the history of our art. I think the lay audience also appreciates those acts as magic and "art" as well. I have heard lay people remark--after seeing some magic acts that depend heavily on apparatus--that the magic is in the box or whatever and that anyone who had the box could do the tricks.

That's an oversimplification, but that's the way many lay people think. In one of the articles I contributed to the old Electronic Grymoire, I considered various ways of magically producing a silk handkerchief, ranging from plucking one out of thin air with the bare hands to producing a silk handkerchief from a phantom tube or square circle.

To me and I believe to the average non-magician as well the more magical effect is the production of a silk from the bare hands. Those methods there are several different methods of creating that effect require at least a minimum of manipulative skill, but to me and I believe to the average lay person as well they are far more magical than producing a silk from a phantom tube or square circle. Magicians produce cards from the air. Taking them from their invisible placement in the air and removes them, they become visible when the magician touches them and pulls them into existence.

Manipulators reveal cards that have been in an unseen placement. Then they convey an statement of, look how clever I am. Here is another one: Card Fanning of colored backs of fanning decks in not magic, it is manipulation. The skill of evenly fanning a deck of cards to create designs of interesting patterns. This is manipulations that a manipulator performs. Laypeople do not create the rules of what is magic and what is not magic.

Magicians can use manipulations to produce magic, and manipulators can chose to create magic with their manipulations. Recently, the trend is that the person is so interested in learning the sleights, that they forget or do not realize that if they, which to perform magic they should make it look magical, not a skill of dexterity. There is certainly nothing wrong with being a manipulator, it is a fine skill.

Look at the face of the guy in the front row, I think that tells everything. Posted: Jun 21, am. What's with the quibbling? Galeano's card act has magic single and fan productions and manipulation fanning and single card "finger work. The card catch was a mild "flash" move which is more akin to juggling. The open palm card "introduction" which Bill referenced seemed to me to be just that-sort of getting the audience to tune in to the fact that nothing but cards and bare hands are involved except for the confetti, etc.

The "ACT" contained elements of magic, manipulation and more. Just like those great performers previously mentioned and not mentioned such as Neil Foster and Norm Nielsen. Perhaps it is the understated presentational style of Galeano which has caused Bill to arrive at his "not magic" conclusion i. Though the reaction of the audience is the only measure you need, I add my congratulations to those already listed.

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Congrats, Eduardo! You are awesome. I love it how you can still smile at the same time doing magic tricks in front of those "high-class" people I love how you reply for most of the comments or queries asked here. Truly appreciable! Thank you so much Eduardo! I bought your DvD last week!

Love the illusion hate the camera cuts. You must put your heart into this to make the difficult look easy and smooth. Congrats to you.. Do you only use normal poker-size bicycle cards, or do you use manipulation cards or smaller bridge cards? Also, do you recommend using some fanning-powder on the cards? This performer has an appealing stage presence and close-up performers would do well to study his pacing: he knows when to go slow and when to go fast.

Awesome illusions, man! How hard is it to learn slight of hand? I have always wanted to try it. Just to learn simple things, you know, to impress my kids or family members. Are there any sources that you would recommend for someone trying to pick up a few tricks? Ahhhhh, so nice reading the comments not only the performance was great but the comments are really nice too! This is amazing! How can she?

Thank you for the reply, Galeano. I appreciate it. I will look into those books and hopefully I'll be fooling my 4 year old son in no time at all. At least I hope I could fool him. Good sleight of hand. Although I knew how the moves were done, I didn't see how any of it was done. That was awesome. Thank you for buying it and please feel free to ask me by email any doubts about the techniques that you will learn from it. Hope to watch some of the techniques performed by you soon!

Better than asian-level skill for me. The beginning is wonderful, and it goes way beyond producing card fans for ever. I only use normal poker-size bicycle cards and the jumbo cards for the end of the act. Yes, i use fanning-powder on the cards, the fans look better with it :. What Jeff's DVDs are you talking about? And, are you going to release more DVDs about stage magic? Like silk and billiard ball stuff?

It would be great. So frustrating that they cut to the audience so often. Most amazing part was the end where the large cards kept rolling from behind his hands. Can I maybe Pm you with a few questions? I would for example want to know were I can learn certain moves I am als going to buy your dvd.. Hello Eduardo! I love your act, and i will be buying your DVD about the act, but some questions: You explain the whole act? You talk about stealing the cards from clothes? You talk about music? Galeano magic Subscribe 13K Download Loading link Views 5 Add to.

Published on Nov 15, WWW. COM info galeanomagic. Filip Jenes 9 years ago. Faizulla Khan 5 years ago. TheAngelOfLight 9 years ago. RDYS 9 years ago. Kleb Dale 9 years ago. David Spector 9 years ago. Guillermo Meyer 9 years ago. Daehawk 8 years ago. Santiago de Miguel 9 years ago. Galeano magic 9 years ago. P Bullman 9 years ago. Johnny Silver 9 years ago. Taran Harvey-Chadwick 8 years ago. TheSavageMusicGroup 9 years ago. Sim RSM 5 years ago. Gabriel Santos 8 years ago. Lee T 9 years ago. Whoc ares 9 years ago.

The way he does the tricks with such simplicity. And also the music really compliments his performance!!! A ver que tal el programa que comentas, aunque yo prefiero ir a verlo en directo. Enhorabuena de nuevo. Hi Eduardo! I am just starting out with card manipulation and I am hoping to buy your DVD soon! I would like to ask you if you have any tips for begginers.

I practice and practice but I am still very sloppy. This is one of those acts where you spot where a couple moves happen and you go "Okay, I think I've got a handle on this. Wonderful job. Great performance, amazing music. I like that you came up with something new and different.

I'm a big fan of magic, especially card manipulations, even I'm trying to learn some manipulations but I'm only the beginner. I love how he is always smiling and is slow but smooth. I just wish I had any where near this kind of talent, If I could learn to do the trick from to that would be more than enough for me lol.

Awesome performance!! Nice job. Hope to watch you performing a card manipulation act soon :. I love magic. That was the best card act I've ever seen, and I'm very old and have seen many. Gracias por el comentario disemiau. Really well executed In front of the stage you can't see anything of that It sure takes some serious skill and training. You are so good! A true inspiration for me! And by the way, an absolutely elegant performance!

Spawn of Demons! Too beautiful and too incredible to be real! Congrats, Eduardo! You are awesome. I love it how you can still smile at the same time doing magic tricks in front of those "high-class" people I love how you reply for most of the comments or queries asked here. Truly appreciable! Thank you so much Eduardo! I bought your DvD last week! Love the illusion hate the camera cuts. You must put your heart into this to make the difficult look easy and smooth. Congrats to you..

Do you only use normal poker-size bicycle cards, or do you use manipulation cards or smaller bridge cards? Also, do you recommend using some fanning-powder on the cards? This performer has an appealing stage presence and close-up performers would do well to study his pacing: he knows when to go slow and when to go fast.

Awesome illusions, man! How hard is it to learn slight of hand? I have always wanted to try it. Just to learn simple things, you know, to impress my kids or family members. Are there any sources that you would recommend for someone trying to pick up a few tricks?

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