The majority of the recording took place in Glasgow, Scotland over two or three years. Recorded predominantly to reel-to-reel tape on a Tascam 388, while exploring new Instruments; balafon, agogo, hand drums, shakers, bansuri - as well as synthesisers, samplers, drum machines and field recordings, he also explored the possibilities of tape pitch-shifting, saturation, splicing, and the creation of rhythmic and melodic loops.
These recordings only came to life and after re-locating to Mandurah (Manjoogoordap), Western Australia where the new environment and proximity to the Indian Ocean led to a desire to create organic instrumental music, but with no access to instruments beyond a sampler and a microphone. This led to the foraging of these digitised tape archives, and the blending of these recordings into a new context reflecting on first impressions of the sun-drenched landscape in which he found himself.
This record was assembled on the traditional lands of the Whadjuk people of the Nyoongar nation, and is as much a reflection on the beauty of the traditional landscape, as it is a lament to what has been taken by western colonialism.