Recorded in Paris 2006

This piece is a 'kitchen sink' of what I do, what I play, what I hear. It uses a recording of a sidewalk bird shop from Van, eastern Turkey, a recording of a civil defense monthly test, and some New Year's fireworks from my window where I live in Prague, C.R. It also contains recordings of the decays of numerous gongs and tam-tams from a drum farm in Moravia. Many of the instruments played on this rather long piece I created myself: the Heart of Jesus (a wooden udu type drum), a toxic material ceramic jug turned into an udu, and a couple of large tuned cardboard tubes. Many of the sounds used are paper-thin editing slices of other instruments, a very crude version of what I might term 'techno'. They eat up processing power in the same way that zombies like brains. As a percussionist, I use field recordings as a solo or contrapuntal voice against my rhythm, or sometimes as a drone/legato affect. For me the entire world of recording is 'field recording' because there is almost no way that the environment does not shape your sound, whether you are listening to it on a hilltop or in an isolation chamber. We are part of the picture we look at.