The wind's invisible and silent energy blasts through this mix of field recordings. 

In isolation wind is silent - only when it comes in to contact with an object does it reveal itself to our ears; churning up the sea, rippling through the forest, vibrating and oscillating otherwise static structures and materials. 

This mix collects my favorite recordings of these kinds of sound activations.

1. Wind blowing over sea defence boulders
2. Scotland Bothy contact microphone recording
3. Truck Trailer
4. Whistling locks and gates
5. Lamp Post 45
6. Foil Balloon caught in a fence
7. Creaking fishing flags
8. Whistling Fences Synthesised Molt
9. Storm in a public toilet
10. Village football field contact microphone recording
11. Radiation Test at Dungeness
12. Brighton Marina
13. Harbour Arm creaking
14. Wind Turbine collage
15. High tide and white foam at the Hot Pipe

The Invisible Power Mix

Inspired by Todd Barton's 'Krell' patch for the Buchla 200e synthesizer, this is a recording of that patch on my system. It is self generating, so it will play endlessly without any input from the synth operator, but subtle changes to the settings during the recording lead to a seemingly endless sequence of notes, changes in timbre and rhythm. This recording also features the Ciat-Lombarde Cocoquantus, which is a cosmic looping machine.

Self Generating Buchla -  Krell

This sound exploration of Walmer Yard House 2 begins with the sound of a wooden door scraping against the rough concrete floor, the two materials crackling and scratching against each other in ear-pleasing sonic friction. 

It was the first sound I recorded during my two days exploring the building, stopping me in my tracks when I first heard it, my brain taking a moment to calculate where it was emanating from. The only door in Walmer Yard to make a sound as it opens and closes (rather than gliding smoothly), in some buildings this would be considered a flaw. Knowing some of the philosophy behind Walmer Yard, I like to think it was a design choice, a sonic reminder, more subtle than the huge metal staircases that boom and oscillate with every footstep, of the materials that make up this fascinating, mysterious, sometimes disorientating collection of houses. 

Those materials are explored further in this piece using contact microphones, which uncover hidden resonances in physical objects such as metal light fixtures, handrails and staircases. Miniature microphones are used to discover new angles and extreme close-ups of sound, getting into positions that larger traditional microphones might now allow. 

My presence in the space is rarely heard. As a performer I'm activating some of the materials, using beaters, brushes and cello bow, but like most sound recordists, I've developed the stillness to avoid imposing my physical self on recordings. Even the smallest movement, shuffle of feet or poorly timed breath will be picked up by the microphone. 

But my felt sense of the space, 'how does it make me feel?' is present and informs the composition and treatment of the original recordings. 

Photo by Helene Binet.

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