This album came together during and immediately following an extended period of time spent in the UK and Europe in 2018. Some of that time was spent in cold, gritty London, meeting and talking with David Toop, some of it listening to fences vibrate in the Scottish highlands, some of it was spent swimming in nudist lakes at Grunewald forest in Berlin, lying in fields of tiny yellow flowers in quaint British towns, listening to sirens travelling across European cities, church bells ringing at midday, drinking expensive coffee and cheap pints, sharing music with audiences of five and audiences of ninety-five. Reading Dorothy Richardson, reading Hito Stereyl, reading Nan Shepard, Lydia Davis. Listening to Tyler the Creator, Laurence Crane, RP Boo and Sarah Hennies…

… My work is led by my materials. I begin with a sound that I like. The feel of this sound will then suggest to me another. And so on, until a form is suggested, and then following the form, perhaps an overarching concept will reveal itself. I rarely begin with a concept. In this way making music, sound, art is a kind of working-through, exploring the timbral and tactile qualities of a sound as a form of phenomenological learning. And what has sprung forth with this album is a kind of ‘home-seeking’ using sound as a way to better ‘know’ the objects, subjects, places and processes that surround me; as a way to connect myself with the places in which I’ve been.

這個唱片誕生於2018年，一場延長了的英國與歐洲之旅途中，以及其後。有些時間花了在寒冷崎嶇的倫敦，和 David Toop 見面及傾談、有些花了在蘇格蘭高地聽欄杆的振動、有些花了在柏林的格呂內瓦爾德森林的湖中裸泳、躺在英國傳統小鎮滿佈小黃花的田園、聽車笛劃過歐洲城市、教堂鐘聲在正午響起、飲昂貴的咖啡及平價啤酒、與5位及95位的觀眾分享音樂。讀 Dorothy Richardson，讀 Hito Stereyl，讀 Nan Shepard、 Lydia Davis。聽 Tyler the Creator、 Laurence Crane、RP Boo及 Sarah Hennies……

……我的作品受我的材料引領，由一個我喜歡的聲音出發。這聲音的感覺自然引渡我到下一個聲音，然後直至一個結構慢慢成形，再跟隨那個結構發展下去，也許一個完滿的概念就會自動浮現。我甚少由一個概念出發。以這方法做音樂、聲音、藝術，是一種琢磨，探索聲音的特質與肌理，以及其作為一種現象學的學習方式。而這張唱片如漣漪一般，延緩了一種「尋鄉」感——以聲音更好地「認識」自己周遭的物件、主體、地方、發生的事，作為與我曾經逗留的地方的一種連結。