“There seems to be a trend of placing field recordings into electronic music, presumably to portray some sort of connection between organic and electronic worlds […] For me, this sort of approach has become a bit of a trope, and I think there are much more interesting ways of including field recordings. The thing I love most is when you hear something that perhaps feels organic or real world but you can’t quite recognise it, where sound design, music and field recording merge to form something new. I also believe that field recordings can inform or manipulate production in other ways, like using recordings of grain silos as impulse responses, or using pipistrelle bats as amplitude gates.”
Oliver Payne in Ben Murphy, Ears To The Ground (2024)
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