The source material for my work with sound has always focused on the use of field recordings, manipulated vinyl and elementary electronics. My emphasis has been on the alteration, abstraction and appropriation of these elements. Prior to this album I had almost exclusively worked live, both in the studio and through performance to create material for my previous releases. For Above Buildings I then added the [incredible] control offered by the home computer to create a series of more intricate “foundsoundscape” collages. The starting point for the majority of these compositions were recordings sourced travelling around America, England and France. These mostly contact-miked sounds were then broken down, processed live through the studio and re-assembled and edited using basic software.

The scope of my intentions for the album, and my reactions to it were summed up well in these review extracts: “You cannot listen to this music and do something else that requires concentration ....” (Pitchfork Media)“... in turns expanding on the familiarity of everyday life and bringing the enormous, infinite universe down to whisper a secret in your ear”
(Forced Exposure).