I’ve always been a sucker for a good drone. A long sustained note with slight harmonic variations held throughout a piece of music will catch my attention, force me to sit and move into its space. Bands such as Sunn O))) use drones to a powerful degree, pinning you against the wall with their potency …

… so it is always with great pleasure that I chance upon the same thing during field-recording expeditions. There to record the sounds of Lake Sorell in wintery and blustery Tasmania, I spotted a taut wire-fence (compliments to the land-owner who did a splendid job!). Attaching contact microphones to the fence-line I heard the deep frequency of wind interacting with wire. The land I stood in was recontextualised through the addition of this hidden sound. A tonal shift occurred, the auditory experience colouring my sense of place; the sound expressing movement through the past, present, and future.