*75 copies limited edition* I have chosen my workplace environment in Dublin as my area of sonic investigation over the last year or so. Where it is or the history of it is not important as my focus is purely on the sonic character of the spaces and materials I find there, and the potential they hold for articulating noise in imaginative and engaging ways.

My tendency is to go in deep and make a thorough range of recordings that give me more than adequate scope to draw on to create atmospheric compositions. The results are not portraits of place or historical evocations; they are the result of a forensic approach to sound where multiple variations of recordings are made to unlock the latent potential of the materials and acoustic spaces. Various tools are used to liberate sound from percussive and textural perspectives (striking, bowing, scraping, rubbing, tapping, dragging etc) and a variety of recording techniques (contact mics, binaural mics, coil mics, stereo mics).

The material is further shaped in the editing process, where the strongest sections of the recordings are isolated, with multiple edits made at different pitches to increase the tonal range. The only other processing involved is at the composing/mixing stage where judicious use of some delay and reverb is used, along with back-masking. Most of the materials recorded are metals of various types found in a range of structures and equipment. Some recordings are made in large resonant environments, others are close-miked, some are filtered by being recorded via lengths of ducting. Some recordings are made of drones from plant machinery, boilers etc., and some are coil mic recordings of electronic machinery such as wi-fi routers and humidifiers.