His work is broadly concerned with the politics of perception, specifically he is interested in the nature of listening, and sounds' capability to occupy the body.

[4] On his 2014 album Wilderness of Mirrors[5] he outlines his approach to composition "For me it's about a kind of struggle between almost nothing and almost everything.

"[6] He cites childhood experiences birdwatching for reed warbler with his father as the starting point for his interest in sound in space.

That's probably my first experience with these ideas of space and sound, which are basically the fundamental building blocks of what I've been interested in since then.

"[7] These experiences have led to a long engagement with field recordings, and more recently the development of theoretical approaches to the practice including his Relational Listening theory.