Autour de la Lune is an album by ambient musician Biosphere which was released on 17 May 2004. The album presents a striking difference from others in the Biosphere catalog due to its percussionless, minimalistic soundscapes consisting mostly of white noise and the sounds of the Mir space station, related to drone music. It featured cover art by the Norwegian contemporary artist Tor-Magnus Lundeby.
Autour de la Lune stands as the most minimal and austere Biosphere album to date. The drones employed on this album are comparable to Coil's 1998 album Time Machines in their timbre and slow rate of change.
The bulk of this work was originally commissioned and broadcast in September 2003 by Radio France Culture for a musical evocation of Jules Verne. As a book, Autour de la Lune (1870, Around the Moon) was Jules Verne's sequel to his De la Terre à la Lune (1865, From the Earth to the Moon). The first one dealt with the Earth part of the story until the ship's launching, from the outside. Autour de la Lune dealt from the inside of the ship with the launching and the actual space travel to and around the moon.
released May 17, 2004
Cat. no. TO:62
Cover [Cover (detail) " Autour De La Lune"] – Tor-Magnus Lundeby
Design – Jon Wozencroft
Mastered By – Denis Blackham
Developed following an original broadcast on Radio France.
P & C 2004 Touch.
Made in England
Une commande conjointe de la Délégation aux Arts Plastiques / Ministère de la Culture et l'Atelier de Création Radiophonique de France Culture.
Thanks to: Philip Langlois and Frank Smith from L'Atelier de Création Radiophonique, Einar Broch Johnsen for translating Jules Verne's novel Autour de la Lune, Trinc for her insight, Tor-Magnus Lundeby for doing the painting.
Published by Touch Music [MCPS].
supported by 19 fans who also own “Autour de la Lune”
I probably wouldn't have listened to this without the context of it being about dementia, but even without that context, this is a real work of art. The distorted big-band samples create a sound that starts out nostalgic, and becomes disturbing and confused, then fades into emptiness, but is enthralling all the way through. Stage 4 is my favorite, simultaneously defying musical logic and upholding it. Ivan Stanton