Tarutao stands as a truly unique gem on Thailand’s map. While countless islands have been shaped by the tourism industry, Tarutao\u2014part of a Marine National Park\u2014remains a pristine wilderness with minimal infrastructure. This mountainous, 26-kilometer-long island is traversed by a single, branching concrete road, offering a partial glimpse into the vibrant life of its dense tropical forest.<\/em><\/p>\n <\/p>\n <\/em>I first visited Tarutao a decade ago and have returned almost every year since, always with a recorder and microphones in tow. These spontaneous trips gradually evolved into one of my most significant field recording projects. My aim was never simply to catalogue local fauna or create audio postcards\u2014a common pitfall in nature recordings that often artificially aestheticize by omitting human sounds. Though the island appears untouched, it’s constantly encircled by dozens of fishing boats and buzzed by overhead planes. The roar of waves often masks the persistent encroachment of human-made noise, while beaches littered with plastic waste serve as stark reminders of the ongoing battle for this wild land’s autonomy. <\/em>The presented recording consists of four segments captured at night and in the early morning. <\/strong>Mirt<\/strong> \u2013has been crafting a unique, hard-to-classify electronic music, fluidly blending avant-garde elements with influences from the fringes of club culture. He masterfully integrates field recordings, which are far more than mere embellishments; they are integral components shaping both the sound and structure of his compositions. His creative wellspring extends beyond European traditions, embracing diverse cultural inspirations.
\nWhat I’m capturing is a fragile ecosystem that could vanish in an instant under the relentless pressure of the surrounding anthropocentric world. For me, Tarutao is a complex, living organism, and I’m deeply interested in a holistic listening experience of its soundscape, even if it’s inherently shaped by a subjective perspective. I’m drawn to Bernie Krause\u2019s approach: where voices form a collective image and are always understood within a specific context. <\/em><\/p>\n
\nAll were made without my direct presence; the recorder, left in selected locations, ran for many uninterrupted hours, offering a deeper insight into the island\u2019s life. The chosen fragments highlight the activity of langurs during the night and at dawn, when their calls are joined by a chorus of birds. <\/em><\/p>\n
\nThe result is a compelling collage\u2014part soundtrack, part soundscape\u2014often echoing the concept of Fourth World music. His work is characterized by its free, improvised nature, yet it retains a hypnotic quality with its judicious use of repetition and trance-like rhythms. He releases music both solo and through collaborative projects like Mirt+Ter and Brasil and the Gallowbrothers Band. His compositions have also graced films and installations, including Blinded by the Lights, Expo 2020 Dubai, and the Sound Monument of KL Plaszow.
\nWith dozens of albums released via labels in Poland, Italy, and the USA, he’s also a seasoned independent publisher. Many early works were self-released under the now-defunct cat|sun, succeeded by Oddities of Nature. Additionally, he helms Saamleng, a label solely dedicated to popularising field recordings, showcasing both his own captures and those of fellow artists. In his practice, field recording beautifully intertwines with his musical creations, yet it also stands strong as a significant and independent branch of his artistic journey.<\/p>\n