"One of the standards I use to judge music is how well it holds up over time. If I put a CD on for the first time in a while and it still sounds fresh, I know I have a winner. That's my reaction to revisiting Geodesium's recording West of the Galaxy. A 1987 release, West of the Galaxy is as vital and richly enjoyable a recording of space music as ever. Mark Petersen (aka Geodesium) makes music that wears very well and this CD shows that fact to good effect.

The CD opens with The Grand Tour and its slowly pulsing bass notes and shimmering synths. This is followed by a hyper-space cruiser, Zephyr, with whooshing effects, wonderfully done plucked-harp synths, and ferocious drum pads. These two cuts exemplify the duality of West of the Galaxy, i.e., the presence of deep space drifts and high velocity cruisers.

Not many musicians that I know of are as comfortable with both styles as Mark is. Jonn Serrie comes to mind, but Mark does not use the same long synth washes, instead concentrating more on notes and chords. Interestingly, Mark and Jonn are two of the premier composers of music for planetariums. That should certainly tell you something about the mood Mark's music conveys. You'll hear this in The Ocean of Space with its gently rotating melodies, Sky Flight with percolating rhythms and breezy synth flute, or the sixteen-minute title cut, a wonderful visit to deep space with slow bass rhythms, languid synth bass flutes, and shimmering synth effects.

Despite this recording's release date of 1987, I don't know if you will find much better space music being recorded today. West of the Galaxy is not dark or mysterious, but warm and friendly. For lovers of more melodic (but not neo-romantic) and cheerful space music, I recommend it highly." — Bill Binkelman, Wind and Wire

"This is true 'space music'; Mark Petersen is a well known writer of music for planetaria around the world. But it generally stays light and energetic throughout. The Grand Tour calls us into the universe with rolling harp-like chords and delicate rhythmic plucked bass. Zephyr is upbeat in tone with fast drums and a joyful melody, and suggests comets swinging around the solar system. Many songs are repetitive variations on a theme. Lightwaves pictures pulses of energy with a steady snare drum beat and an almost choral quality in places. Probe has a slower evocative quality with a slightly syncopated drum beat.

"As a planetarium composer, Mark Petersen has been exploring his medium for nearly ten years and developing his own unique brand of space music. The planetarium environment — with the thrill of all-surrounding visual and all-encompassing audio experiences — has been historically complemented by a music all its own. Mark's recordings, under the name Geodesium, are original works that range from ethereal, floating music characteristic of the space music genre, to rock-influenced symphonic works that transcend their roots with the rich textures and counter-rhythms that are the signature of the Geodesium sound.

The title track, "West of the Galaxy," is the centerpiece of the album at just over 16 minutes, with a steady, undulating feel that borders on a Vollenweider-esque magic, as the gentle journey encounters minor turbulence, suggested by an occasional meteor shower or asteroid field. The other eight tracks show an appealing variety, ranging from the uptempo "Zephyr" and "Sky Flight" with its flute melodies, to the rippling harp-like arpeggios of "The Ocean of Space," complete with repetitive synth washes over choral chords. Throughout the journey there are many side trips and experiences of touching down on some beneficent new planet or distant space vistas looming ever closer as we soar through the heavens." — Heartbeats

"Mark C. Petersen is the performer and composer behind Geodesium and these fine collections of feel-good space music originally created for planetarium shows. The 16-minute title track of West of the Galaxy glides through space guided by outbursts of musical phrases that might sound like whimsical space creatures conversing and singing.

"The latest Geodesium album shows a big step forward beyond their fine Heartbeats debut, West of the Galaxy. This new release is in a league with Jonn Serrie's works, as music from and for the environment of the planetarium. Ranging from dynamic, rhythmic pieces to ethereal, beautifully floating music, Fourth Universe portrays magnificent visions of the universe.

The song titles are often clues to the tempo — the opener, Sailing To Neptune is a cruiser which rides the waves of the galaxies, while Deep Blue floats slowly as it spirals deeper, and Rhapsody on a Red Planet uses classical motifs to envision the desolate planet-scapes of Mars. Flights of fantasy move through deep space, romantic and ethereal at times, upbeat and rhythmic at others. The Geodesium sound is full of clarity, expressing its own view of space and all the sounds generated from these deep expanses. Eighteen tracks altogether make up this nearly hour-long release, marked by an ability to portray magnificent, memorable visions of the universe through its varied approaches to the space music genre." — Heartbeats

"Lately, I've been assigned to many people who either work on music for planetariums or TV specials on space. Out of all the assigned 'space cases', Mark Petersen, aka Geodesium, stands out above the rest. Fourth Universe is a collection of excerpts from several planetarium soundtracks. It contains pieces composed between 1986 to 1991. In sixty minutes time, Petersen covers a lot of ground, or space I should say.

He is one of the largest distributors of planetarium programs, space visuals and soundtracks to the planetarium and academic science community. Geodesium is compelling listening, with its floating atmospheres, moments of delicate beauty, sweeping neo-classical themes and blasts of unearthly sound which somehow juxtapose into a coherent whole. It all adds up to what must be the best, and most enjoyable, Geodesium album ever." — Ben Kettlewell, i/e and DreamsWord

"Fourth Universe opens with one of Petersen's most likeable tracks, Sailing To Neptune, followed by a calm mix of relaxing, floating-through-space type selections and more melodically structured tunes. Standouts include Moon Without A Name and Closer To Home.

This newer CD has twice as many tracks as the previous one, but each CD contains close to an hour of music, and both are good quality productions. Space music junkies must add these to their collections." — Dan Margules, L. A. Jazz Scene

"Geodesium is the work of planetarium composer Mark Petersen, whose previous efforts offer compelling and strangely familiar space music styles that ranged from dramatic anthems to sonic odysseys & floating keyboard sounds.

Further into space yet deeper into the earth, the latest Geodesium release, "Anasazi," takes space-based stylings into an atmospheric realm of arid deserts, bleached sandstone and ancient temples. Percussive rhythms cut through layered keyboards, flute melodies and fusion elements." — Heartbeats

"This is the fifth Geodesium album, however instead of being written with a 'deep space' feel, this was written to celebrate the vast and ancient quality that our own little world has to offer, whilst still connecting the ancient civilizations with the stars and their inhabitants. There is a strong ancient civilization feel to both the music, the song titles and the cover artwork.

The CD is divided into 2 suites, the Anasazi and the Aztec. The writing is consistently very strong and fresh sounding. This is not just another space album. There is a sense of vision that I found quite compelling, making me want more. Overall an enjoyable and different synth album." — Jim Cornall, Sound Mind Magazine

"In the Anasazi and Aztec suites, Petersen grounds his space music in the canyons, streams, and the ever present play of the sun. The ancient cultures stand as legends here, not distinctly drawn, but their majesty enormously felt.

The music draws you into sheer red canyon walls, the preciousness of water, the destiny of the stars, strong warriors, and towering temples echoing with gongs to engage you in the mysteries of the ancient ones." — Carol Wright, NAPRA Trade Journal

"A perennial PJ fave rave, Geodesium creates space music from the dawn of the second millennium. On this latest aural excursion, two full-side suites jettison galactic chill in favor of the warm hand drum accents from the peoples of the Sun — the Anasazi and Aztec. Impressionistic, sweet, slow-moving melodies are deftly woven with techno punctuation of the most dramatic sort.

You don't have to be a young American primitive to succumb to these sparkling narrative instrumentals, as the irresistible call of pan flutes, wind chimes and nature sounds effortlessly insinuates itself into even the most jaded imagination. Anasazi is a seamless embrace between New Age/World and Space music that radiates both mystery and positive human emotion." — P. J. Birosik, Monthly Aspectarian

"Like the Mark Johnson CD I praised earlier this year, Anasazi opens with a short introduction that reaches out from deep inside the speakers and grabs hold of the listener, pulling him in tightly. Geodesium's fifth CD is the latest from planetarium synthesist Mark C. Petersen, and is comprised of two suites from planetarium shows about the lost Anasazi tribe and the ancient Aztec sky watchers. For these commissioned works, Petersen couldn't use his usual space sounds. Instead he had to create a new library of samples on flutes, drums, wind chimes and voices to evoke the mood of arid deserts and forgotten civilizations.

These new sounds, in the context of Petersen's spacey compositional style, send out waves of serenity, making for a wondrous listening experience. But it's not just about atmosphere. Melodies as sweet as Mannheim Steamroller fill the air. Shadows On Sandstone, for instance, has a particularly pleasant harmonic structure. And the jazzy Sun Dogs burst with effervescence. This CD represents a remarkable step forward in the creative growth of this space music auteur." — Dan Margules, L. A. Jazz Scene

"Mark Petersen, aka Geodesium, is definitely ready for the second millennium. His new CD is comprised of two suites, Anasazi and Aztec. The first suite, Anasazi, begins with a 18 second piece, Call of the Canyon. It's a brief intro which gracefully segues into the title track, Anasazi. Both feature ceremonial drums and Native American Flute solos bathed in a deep resonant reverb. The third piece, Wijiji, continues with this theme, building momentum, with the same instrumentation, but adding a deep resonant bass melody. Up to this point the atmosphere created is similar to that of Dik Darnell's first two albums, a hybrid of traditional Native American instruments, and high tech space. The fourth cut, Water Prayer, is a nice ballad, with the sounds of flowing water, reed pipes, and kalimba (African thumb piano). It leads us into Chetro Ketl, which begins a slight deviation towards western music with the introduction of sampled grand piano, harp, and choral samples. It has some great tidbits of processed percussion thrown in at crucial points in the song. It's grandiose, large scale symphonic work is similar to some of the pieces in John Barry's critically acclaimed "Dances With Wolves" soundtrack. This sets the mood for Chaco Twilight, a grand orchestral work with incredibly beautiful oboe lines carrying the main theme. My only complaint is that the piece is too short. This segues perfectly into Summer Solstice, with rhythmic bass lines supported by nice Fender Rhodes patches, harp, and vocal samples.

You can almost imagine sitting on a cliff overlooking Chaco Canyon, and again getting cut off a little too abruptly. Next Shadows on Sandstone is a dreamy piece with flute melodies carrying the melody, supported by slow rhythmic bass and marimba lines. The liner notes say the flute is Anasazi; if so, Mr. Petersen must own the only one in the world, since this tribe has been extinct for over a millennium. The next cut, Sun Dogs, is a modal jazz piece with flute as lead instrument, similar to the '70s jazz compositions by Paul Horn and Charles Loyd. Very nice bass lines and comping! Next, on to Aztec Suite! Mark subtly eases the listener into this segment with Cycles of Night. The main theme is a classical guitar sample played a little out of range, which comes off sounding like Peruvian harp, but still sounds great. The main melody lines are supplied by soothing pan pipe samples and choral ahhs. At this point I've realized that descriptive notes on the seven remaining pieces could run into pages, a nightmare for my editors. Suffice to say, Mark Petersen has again created a musical masterpiece, full of great melodies, inventive arranging, and a real pleasure for the ears. Those familiar with Mark's earlier releases will find in Anasazi a new awareness, an expansion and culmination of earlier musical ideas. It's a compelling musical journey that I recommend to everyone." — Ben Kettlewell, i/e and DreamsWord

"The first of three Planetarium music collections from one of the world's leading space music composers. This music has been "in the can" for quite some time; congrats to Mark Petersen for releasing this excellent space music in its truest form.

1993 was the last time there was a new Geodesium CD (!); this one includes music from planetarium shows and projects from 1985-2001, and it is stellar indeed!" — Lloyd Barde, Backroads Music

"This is a monumental achievement in the annals of electronic music. Mark began performing in the pre-digital days so this set includes deep sequences, light sequences, cosmic atmospheres and gentle minimalism.

"They say that beauty is in the details. If so, then Stellar Collections is very beautiful indeed. Petersen shows a fine sense of detail in the way brings tonal elements and subtle effects in and out of the mix. And, unlike many others in the space-music genre, he shows a great gift for harmonic structure. He moves between chord structures and keys with finesse and precision, without ever interrupting the organic flow.

"Welcome back, Mark! Stellar Collections is yet another fantastic album from one of the best spacemusic artists around! Spacily melodic at times, ethereal and elegant at others, and always full of unique and characteristic keyboards and samples that long-time Geodesium fans will instantly recognize, Stellar Collections marks the return of an artist who has been sorely missed by fans of this genre (assuming said fans have the good sense and taste to know and appreciate Mark's music).

While some (not all) fans of rhythm-less ambient music may find the more "active" pieces here to be less accessible to their ears, it is precisely this creative and seamless blending of both floating spacers and midtempo cruisers that gives Mark's music its special "something." Very few artists can combine the elements that Mark does and make it all sound sooooo beautiful yet never sugary or melodramatic. This CD showcases his unique talents in composing and performing music that is ethereal, melodic, varied, and as majestic and dramatic as outer space itself.

As any long-time fan of Petersen knows, this fact comes as no surprise; after all, Mark is still the premier composer of soundtracks for planetarium presentations. And Stellar Collections, which gathers together his "best" previously unreleased planetarium compositions from the last two decades, is proof once more that the man has literally no equal. Simply put, Stellar Collections is a stunner - full of soaring keyboards, ethereal flute-like passages, luxurious synth strings, intoxicating rhythms, and a mixture of slow, mid, and uptempo tracks that take the listener racing, cruising, and drifting through the farthest reaches of the galaxy — and beyond.

Opening with "Winter Sunrise," fans will immediately recognize the artist's juxtaposition of piano with synths, dramatic plucked and bowed strings, and stately synth chorus that is trademark Geodesium. As soon as I put this CD on my player and heard the first minute of music, it was like discovering an old friend on my doorstep, inviting them in, and giving them a hug. Damn, it was good to hear Mark again!

Petersen's special forte has always been his ability to blend spacy and electronic drifting tracks with more rhythmic and structured compositions (while still retaining the mystical quality of planetarium music). You hear it on "The Andromeda Collection" (four of the seven tracks on the album are actually "suites" comprised of "movements," like those in a symphony or a concerto).

The first segment of this particular track is "Further Back in Time" and whistling synths caress the song while bell-tones and strings hypnotically weave their web. The second movement, "Stellar Collections," starts off slowly with quavers and bell-tones, but becomes more dramatic as it progresses, while "The Enormity of Distances" (the last segment) is appropriately somber and forlorn, with hushed choruses, bells, and a synth horn that echoes mysteriously.

"Perceptions" is one of Mark's specialties — a track that combines spacy electronics with percolating rhythms and lively percussive effects without traversing into Berlin-school territory. No one else that I have heard can accomplish this with such ease and assuredness. How Mark composes music that is so likable, accessible, and yet so devoid of any pop or adult-contemporary trappings is beyond me. But, in all honesty, this stuff rocks (in an outer spacy way, of course).

There are three more tracks after "Perceptions" ("The Voyager Collection," "The Distant Worlds Collection," and "Laser Bounce") leading up to the album closer, a nearly twenty-five-minute opus titled "The MarsQuest Collection" which is new music (composed in 2001). The track has eleven movements and it's a true tour de force for Mark's talents — opening with syncopated beats, heavily echoed flute, synths, and typical Geodesium magic. From there, the cut covers a myriad assortment of moods and tempos, some quite dramatic and some very subdued. A fair amount of this track has a beautiful haunting quality to it (ideal music for reading something like Bradbury's The Martian Chronicles or — one of my faves — Robert Heinlein's Red Planet). Other passages, though, can be overtly uptempo or electronic (such as "Mariner"). In fact, at times, I heard some new wrinkles from Mark (which, given that this is his newest stuff, is not a surprise, obviously). But throughout its twenty-four-plus minutes, the pleasantly familiar Geodesium "vibe" was always present — gently undulating synths, persistent yet never overbearing rhythms, a blend of cosmic and earth-bound musical textures, soothing synth choruses, and engineering that is about as perfect as it can be.

Stellar Collections is proof positive that some things are definitely worth waiting for. After his previous CD, the under-appreciated Anasazi, Mark Petersen disappeared from "recorded" music for awhile. Now that I have had my Geodesium "fix" I hope he doesn't leave us for such a long period again. I don't want to go into withdrawal again!" — Bill Binkelman, Wind and Wire

"A Gentle Rain of Starlight is [Mark's] eighth album, filled with 13 music tracks to accompany the star-filled dome. I must say the job has been done well as the music glides through sensitive, light corridors, tapping into an accessible pool of slightly Serrie-kindred sound currents in which softness and romance are always nearby. The overall sound is well done but very mellow, and the varied but recognizable sound palette of the Korg Karma shows up quite a lot as leading voice on most tracks.

So look out for lots of sparkling sound and semi-melodic washes scattered over all tracks, carrying you away on a peaceful and gentle cosmic journey. Personal highlight is the great swirling soundtextures of Celestial Solitude.

Although Geodesium's music doesn't establish the much deeper celestial sound design of Jonn Serrie, the music as such is surely recommended to any ambient space music fan." — Bert Strolenberg, reviewer, EMPortal

Mark Petersen (Geodesium) is one of those artists with an instantly recognizable "trademark" sound to his music, present since he first started releasing his music back in the mid '80s with West of the Galaxy (he had two releases prior to that but I've not heard them). Part of what separates Petersen (who composes his music for planetarium shows and then releases it on disc) from other space music artists is how he apparently views space as a warm, inviting and friendly place, where any darkness and mysteries are seldom foreboding or scary. I make this assumption because his music is filled with a flowing melodicism as well as a tangible sense of gentle awe and wonder. Another characteristic of his music is how he structures it, relying more on notes and refrains rather than on the more typical (for the genre) pads, washes and textures (although they are all here as well). He also sometimes throws in a more uptempo/upbeat song now and then, another anomaly for the genre.

A Gentle Rain Of Starlight's title should give you a good idea of what to expect: music which cruises gently through the cosmos at a leisurely pace, sometimes speeding up but never to the point of warp speed. The trip is suffused with a sense of peace and wonder, as if one were witness to the beauties of the universe soaring by a starship's viewport. As with previous Geodesium albums, the CD is technically excellent, from the quality of synthesizers and keyboards to the flawless production, mastering and engineering.

With thirteen tracks on the album, describing them all would take way too many words. Winter Stars starts the album off with twinkling echoed and panned bell tones, swirling celestial keyboards and some subdued bass rhythms underneath it all. The bell tones play a repeating refrain but in Petersen's capable hands, it never gets boring (this is also one of the artist's motifs, i.e. the use of refrains within songs, again atypical for the genre).

Star Hop is a light-hearted romp through the blackness, with cascading keyboards set against softly sighing choral and ambient textures. Here, the rhythm is imparted solely through the refrain's tempo, although the occasional synth bass note can be discerned. Opening with what could be the musical equivalent of the titular reference, the title track blends high-pitched tones with lush lower register pads and whistling keyboards. Celestial Solitude shimmers and glides with repeated reverberating notes and softly sighing chorals while Outbound bursts with subtle energy via synth arpeggios and wildly panned bell tones, evoking moving gracefully but at great speed.

One of my favorite tracks on the CD is the seven-minute long The Alcor-Mizar Connection (which I'll assume is an astronomical reference). It has an air of mystery to it with a slight "edginess" and I found the melodic refrain to be particularly pleasing to my ears and I enjoyed how the song evolved over its duration.

I'm loath to mention this, but I'd wager those of you reading this review who think space music needs to be more in an ambient or even dark ambient vein may consider Geodesium's music too "pretty" or "new agey" due to the types of keyboard sounds and the overall positivity of the music. Well, I won't try to change your mind about that, since it's your call, obviously. However, if planetarium directors all over the world think Mark Petersen aptly evokes the cosmos in his music, the guy must be on to something. For me, A Gentle Rain Of Starlight continues Geodesium's streak of "stellar" releases (sorry, I couldn't resist that). If you think it's too pretty, go listen to Stalker or Where the Black Stars Hang. For me, Geodesium's music reminds me why I fell in love with astronomy as kid, and for that sense of wonder and joy, I can't thank Mark Petersen enough. Highly recommended. — Bill Binkelman, New Age Reporter

I've been listening to all of the Geodesium CD's (and I own them as well), and this one stands out from the rest. There is a fresh new sound to this new installment, though it sounds very much like Fourth Universe except that this CD has more depth and emotions to it like never heard before. Listen to Celestial Solitude and Silver Lagoon and you know what I mean. I would highly recommend this CD to just about anyone who likes to add floating space music to their planetarium show at home or at the theatres.

If you like Jonn Serrie's music then you can't go wrong with this release. It has everything. It's fresh, a new classic, has more depth than the other Geodesium CD's and most important I guess, it sounds very personal but I really can't put my fingers on why. Perhaps this is just me. Anyway, excellent work as usual, Mark C. Petersen! Now buy it! — Kristian Persson, on Amazon.com

"I have followed Mark C. Petersen's works since his self-titled CD 'Geodesium' from 1977 to this day, and I have to say that this one stands out from the rest, in a very unique and pleasant way. I love space-music, and this disc, partly, fails to deliver just that. However, it is not Mark's intention to create another follow-up to 'A Gentle Rain of Starlight', at least not from what we hear on this CD. Instead we get to hear some really intricate and evocative "thrillride" music. Some tracks being quite spacious, that goes along very well along with a Dome Show.

The best thing about this CD is the great variety of themes and melodies, something this CD has tons of, and does it sound good? Oh yes! There's everything ranging from plain and "simple" electronic fusion to some outstanding ethereal and subtle use of 'space guitars' that does its job very well throughout tracks such as 'Lobate's Scarp' and 'Titanical Gas'. Those tracks alone makes it worth buying this CD!

While listening, I can easily imagine myself sitting inside a darkened dome (planetarium if you like), getting ready for the ride of my life as the music progress through with its very infectious rockin' edge to it. Other notable tracks are 'Europan Ice' and 'Ring Surfer', both being well structured and versatile, both rhythmmic wise and 'guitar' wise. The album itself can be listened to "as is", but I really think it would be perfect inside a darkened planetarium, not during a cosmic space documentary, but during a thrillride in space, in which this album is intended for!

So who will like this CD? Well, basically, from my point of view, anybody looking for something old and something new. Mark's distinctive sound palette can be heard on many tracks, most notably on 'Depth Perceptions', which is a 'cover' from one of his earlier albums. Also, if you're a long-time fan of Mark's earlier albums and want something completely new and different for your ears, then this is for you!. Most certainly a highly recommended album for all space enthusiasts out there! Get it!" — Tangram's Music Blog

"Really great and imaginative music. Very expressive of the peace and limitlessness of space. I'm looking forward to more music from you." — Paul Rath, KDAQ-FM, Shreveport, Louisiana

"I like Fourth Universe the best... the songs, albeit shorter, have more ambient deepness and sound starscapes whereas a lot of West of the Galaxy seems more minimal... Right up there with Froese/Baumann/T. Dream." — Mark K. 'Tarkus' O'Neil, KEOL-FM, La Grande, Oregon

"It's a perfect fit!" — Steve Davis, KKUP-FM, Cupertino, California

"I've placed Fourth Universe into heavy rotation, after featuring Geodesium for a weekend. This new release sounds as professional as any of the mainstream stuff out there. Can't wait till the next one!" — Steve Dahlquist, WSUP, Platteville, Wisconsin

"Provides a wonderful juxtaposition between many styles of music. Some very beautiful pieces stand out on [these] recordings." — Peter Kernast, WTSR, Trenton, New Jersey

"We love Geodesium (well, at least like)." — Tami Sortore, KZUU, Pullman, Washington

"Heavy, regular play — most enjoyable." — Bill Eason, KVCR-FM, San Bernardino, California

"Fine array of my kinds of sounds." — Richie Suraci, Fine Art Productions, Newburgh, New York

"Exciting stuff, played most of the tracks to good listener response." — Victor R. Venckus, WZBC-FM, Chestnut Hill, Massachusetts

"The drum machine sounds cheesy." — Jake Schumacher, KCAW, Sitka, Alaska

"Anasazi is magnificent! Good listener response from airplay!" — Patricia Bergn, KMSU, Mankato, Minnesota

"Great music, Mark, good variety, too. I'm tracking all of them. Received favorable comments from my audience. Send more!" — Van Roberts, WMUW, Columbus, Mississippi

"All excellent releases, perfect fit for our 'contemporary instrumental' format." — Marty Scarbrough, KASU-FM, State University, Arkansas

"Great! Very sublime! Will be playing most of it!" — Miguel Forjan, WREK, Atlanta, Georgia

"Anasazi is getting light rotation and the earlier albums get played occasionally." — Scott Raymond, WVKR-FM, Poughkeepsie, New York

"I will play your music together with other Americans, for example Mark Dwane and Jonn Serrie." — Tim Van Veen, Radio SLOR, Ridderkerk, The Netherlands

"Anasazi is the best so far!" — Ron Weekes, KTSC, Pueblo, Colorado

"Absolutely Fantastic! All 3 albums will be mainstays on the show. Hummel Planetarium in Richmond, KY — Do they know about you? They should!" — Mark Voigt, WRFL-FM, Lexington, Kentucky

"I just received [Anasazi] from you. It is much more enjoyable than your earlier two works. Several selections will be featured on a future Soundspace program." — Norvel L. Trosst, KPBX, Spokane, Washington

"There is a great deal of new age music coming out." — Daniel Holeman, KVMR, Nevada City, California

"I will be featuring Anasazi, Summer Solstice, The Great Temple and The Warrior Awaits on future shows. I wish you hadn't strayed from the 'space music' idea — seems like every new age artist is doing world-beat flavored tributes to indigenous peoples, the rain forest, or both, usually without much regard for the culture they supposedly portray — just marketing and musical exoticism, frankly. I hope your next release will be DEEPLY ambient!" — Kevin Holm-Hudson, WEFT, Champaign, Illinois

"This stuff is PRIMO!" — Mike Luoma, WIZN, Burlington, Vermont

"Sounds pretty good, but kinda spacey." — Arnold Chin, KUOP, Stockton, California

"It was my pleasure to promptly receive West of the Galaxy. I love it; that's why I'm ordering Fourth Universe (find $17 enclosed). I have eclectic music tastes. I am retired and listen to music 15 hours a day. I have heard West of the Galaxy for 10 hours and can't believe that your music was so mesmerizing. As a hobby, I style cars and I have created more stylings and better stylings today and I attribute it to your music. In my opinion, you, Mr. Petersen, are better than Kitaro, Burmer and Serrie" — Henry D., Terre Haute, Indiana

"All my adult life I have searched for this type of music! I have just purchased Fourth Universe and have already listened to the CD 4 times — and have turned several of my co-workers and neighbors on to this music. It is so uplifting, peaceful and full of promise for a universe full of love and happiness! I have never written a note like this before — but this music truly touched the inner voice of my soul. I am so happy to have stumbled upon this." — Teri O., Marietta, Georgia

"This is my first adventure into new age music and Geodesium Fourth Universe is absolutely supreme. I have to admit I WASTED about $100.00 on other tapes to find the sound and style I prefer. It is also great to have found the perfect Xmas gift this year." — Ray D., Trenton, New Jersey

"I recently had the good fortune to stumble upon the disc Geodesium Fourth Universe while I was visiting my family. It practically leapt off the shelf at me, and after listening to it I knew it was true love." — Noelle W., Davie, Florida

"My son exclaimed: 'Life is worth living for such moments when you listen to a piece of music like that.' This was just when Sailing To Neptune trailed off and I stopped the player to ruminate over the beautiful tune. I could merely nod to express my concurrence. I was too moved to speak." — Aloke M., Calcutta, India