of singing bowls, they're a good starting point. John Minton's film is based on my feelings of what I felt when I was there. The strange, surreal, almost sculptural nature of the trees. I'd suggest walking at twilight where there's that calmer energy and the landscape gets itself back from the public. When you're walking you get that odd feeling when it feels that the light is going to run out... It must trigger something very primal, pre-modern instinct, the moment when the difference between night and day becomes more real. AU: Yeah that's exactly put what I was trying to say. My music reflected that, in a way. It's become a bit old school Radiophonic. I used the old VCS3 synthesiser, and recorded tones of notes onto my computer, and put every note through a different channel on my mixing desk. Then I could play the faders so you can play music with a pre-determined tonality and an interrupted sound that comes in and out. It's basically just pure sidetones, very pure. Then I made wind sounds, not progtastic Hawkwindesque wind, I tried to make it as natural as possible, done on an old synthesiser from the 60s. Then there's some guitar, and some microphone feedback. I did this gig with Aphex Twin in Poland and we were playing some Steve Reich stuff. He did this piece called Pendulum , which is microphones swinging over speakers. I've always loved controlled feedback, so I started with some of these ideas.