Wind Is the Original Radio

Welcome to the wind is the original radio podcast! Today we have an extra special episode, in which we are sharing with you an episode from Indigenous Earth Community Podcast by Frank Weaver. This is all about honouring and respecting green spaces with Watson Withford, member of the Chippewa Cree tribe and Navajo Nation. Because here on Earth.FM, listening to natural spaces is about being in relationship with, we think that for any listener and recordist, learning how to honour the spaces we visit is fundamental. This includes learning about the issues affecting those spaces, thinking of future generations, asking permission and so much more. Our gratitude to Frank Weaver for sharing this knowledge with us and please see the episode notes to learn more about Indigenous Earth.org. Episode Summary In this powerful episode, Frank Oscar Weaver is joined by Watson Whitford (Wapanatak), co-president of UNITY and member of the Chippewa Cree tribe and Navajo Nation. Together, they explore five essential ways to be a mindful visitor in parks and natural places, weaving together traditional wisdom and practical guidance for honoring our green spaces. The Five Ways to Honor Green Spaces Become a True Steward Connect with the issues affecting natural spaces Educate yourself about environmental challenges Take action in your community Leave It Better Than You Found It Take responsibility for keeping spaces clean Think of future generations Protect the beauty of our lands Honor Ceremonial Spaces Recognize the sacred nature of many parks Respect ongoing ceremonies Seek permission and guidance Respect Wildlife Boundaries Avoid disturbing animal behavior Maintain appropriate distances Remember every creature has its place Get in the Right State of Mind Ask permission before entering natural spaces Practice mindful visitation Show gratitude through offerings Notable Quotes "We're a part of this circle of life. I'm no higher than a ladybug. I'm no higher than a buffalo. And we're all the same. We all come from the same place." - Watson Whitford "I want this place to be beautiful. I want there to be clean water, clean air to breathe, to be healthy animals and healthy plants. Not just for my relatives that are here with us now, but for people that will be coming in the future that aren't even here yet." - Watson Whitford "Our traditional ways of ceremony are good... we don't talk down about other people's way of religion or talk down about the way other people pray. You know, because we want to be uplifting. We want to help each other." - Watson Whitford Special Offer Visit indigenousearth.org to receive an exclusive video prayer from Watson Whitford, guiding you in practicing mindful visitation to green spaces. Connect with Watson Whitford Email: copresident@unityinc.org Instagram: @watson_whitford05 Role: Co-President of UNITY Support UNITY UNITY (United National Indian Tribal Youth) supports Indigenous youth leadership across the nation. Your donation helps: Support Indigenous youth programs Preserve traditional knowledge Foster environmental stewardship Develop future leaders Donate at: unityinc.org/donate Stay Connected Subscribe to our newsletter: indigenousearth.org Follow Indigenous Earth Community on Instagram at @frankoscarweaver Credits Host: Frank Oscar Weaver - Pai Tavytera - Tribe of Paraguay Guest: Watson Whitford -Navajo/ Chippewa Cree Sound Engineer: Jake Kelch This podcast acknowledges that many parks and natural areas are on ancestral Indigenous lands that have been stewarded by Native people for thousands of generations.

We are delighted to share a special set by artist Asa 808, a 2-hour journey ideal to softly immersive oneself in the nature sounds, instruments and spoken word. Credits to Asa 808 and Ana Roxanne, Agustin Pereyra Lucena Quartet, Andreas von Wangenheim, Awakened Souls, Dead Man Winter, Djrum, 혁오 (HYUKOH), Sunset Rollercoaster 落日飛車, Felbm, Frankie Reyes, Icarus, Hana Stretton, H.Takahashi, Jeff Parker, Jordi Savall, Julian Lage, Julianna Barwick, Laurie Spiegel, Matonizz feat. Brian Kelley, Meitei, Omni Gardens, Rosie Lowe & Duval Timothy, Sohn, Sonmi541, Starling Arrow, Ted Greene, Yutaka Hirasaka, Wau Wau Collectif. Asa started making music at the age of six, first learning classical piano and guitar (despite being seen unfit by some peers due to a heredofamilial essential tremor), later specializing in music theory and composition, jazz and improvisation. As a teenager, the non-binary artist released a 5 track EP with their first solo ambient project Hasta la otra méxico!, of which especially 'Túrána hott kurdís' attracted a lot of attention, hitting almost 1 million views on vimeo & youtube. Driven by their love for electronic music, Asa started producing and DJing as ASA 808, releasing on George FitzGerald's MakeMusic, Soundspace, and their own TOYS imprint and playing at festivals and clubs across Europe and Asia.

“I try to find places that still carry a bit of this [...] feeling that [...] something might be watching me in the place I try to record, or that I may have some problems with finding my way back from the recording spot. [...] [R]ecording there [gives] a chance to capture this raw energy of nature.” In this episode of Wind Is the Original Radio, the Earth.fm podcast, site curator Melissa Pons talks with Jakub Orzęcki. An acoustic ecologist and field recording artist based in Wrocław, southwestern Poland, Jakub was nominated for the Sound of the Year Awards in 2022, in the category of Best Natural Sound. Jakub has made it his mission to highlight the noise pollution increasingly affecting acoustically sensitive areas, and to archive changes occurring in sonic environments. However, as well as exploring Poland’s remote wilderness and underground environments, his work also encompasses the acoustic heritage of the local folklore and traditions which are coming under threat from globalization. With his Polish Soundscapes initiative, Jakub records and assesses the relationship between biophony, geophony, and anthropophony within his homeland’s acoustic environment. In their conversation, Melissa and Jakub discuss a novel way of thinking about his field recording work: the notion that different recordings have flavors. For Jakub, this relates to the emotions he feels in the place where they are made - maybe a flavor of adventure (for example, in relation to soundscapes “tied to [an effortful] expedition”), or the flavor of being “the first person in a place for a very long time”. There’s even the flavor of preparation and analysis, drawing on “old descriptions of [a] place[,] [...] of settlements that once existed there” and grounded in everything from maps of topography, light pollution, and air traffic to Lidar-based terrain models.  Jakub also describes a more primeval flavor - one that comes from respect for, or even fear of nature, and which “mix[es] [...] fascination and unease”. This sonic flavor reminds us that, for most of human history, natural environments were so much more unpredictable, stronger, and powerful than we were, whether in the form of forests, rivers, mountains, or swamps. Capturing that sensation tells us how “small [we] are compared to what surrounds [us]”. They also delve into topics including: ‘Sonic nostalgia’: a notion prompted by the disparity between the soundscapes of Jakub’s childhood, spent in his mother’s picturesque home village, and those he experienced when returning to the same area as an adult. From a “quite simple and [...] even [...] old-fashioned” way of life that “harmonized with [the] forces of nature in a perfect way”, the “sounds of [the] river where [he] played with [his] cousins [and the] beautiful sounds of the hay fields” had been overtaken by quite different sounds generated from the sand extraction sites that the riverbanks had become, while the forests were filled with industrial noise The “hidden critical potential” to field recording, which means it “can be a declaration of [the recordist’s] worldview”, akin to a protest song. Jakub explains how a field recordist is able to provide commentary by “reveal[ing] what is in [a particular] soundscape [...], what's disappearing and how human activity shapes it” - in his case, mainly in relation to awareness of noise pollution, but also on broader issues like migration, pandemics, or women’s rights A traditionalist worldview - not politically, but one that embraces “a sensitivity to what's being lost” and an “uneas[iness] about the future”. For Jakub, that manifests as a “longing for sounds that are disappearing”, as well as “a quiet sense of anti-consumerism and anti-globalism”, given the way in which transport, industrialization, and tourism can be detrimental to biophony, geophony, and traditional folk sounds Field recording as an act of care for the soundscapes it preserves, which may encourage o

“To record well, you have to be listening well.” This episode, part two from Endless Fields 2025, features a further selection of interviews between Earth.fm curator Melissa Pons and her fellow artists-in-residence. You can listen to part one here. One of the co-founders of the event, Stefano Arrigoni, spoke to Melissa alongside Cameron Randall. Stefano is a sound artist and anaesthetist from Italy, who lives in Marseille, France. His practice explores how sound can shape consciousness and open spaces between the inner and the outer. For Stefano, field recording is a form of healing, attention, and surrender. In his compositions and improvisations, recorded sounds trace paths that question authorship and reveal what lies beyond the first layer of hearing.  Cameron, a multidisciplinary artist, field recordist, and DJ, composes through an assemblage of field recordings, electro-acoustic sound, sampling, synthesis, AI models, and digital processing. Previous work has involved sculpture, algorithms, sound, moving image, text, and installation, while his monthly series Listening With is broadcasted on Resonance FM. Together, Melissa, Stefano, and Cameron discuss: The origins of their interest in sound. Cameron’s arts background means he approaches the sonic world through a visual lens, while, despite being brought up in a family where music wasn’t a priority, one of Stefano’s earliest memories is of playing guitar with his father. He also describes himself having been a “sound-contemplator” from an early age How important it is, for those who wish to make music but don't have a musical background, to realize that if you “step back and [...] just listen quietly and [...] wait patiently”, inspiration will come. And to remember that an “unmusical mind” can even be beneficial, by “pull[ing] [...] work into a [...] different space” Whether engaging with sound requires more effort than the visual world does - or whether this engagement is “just different”, and simply requires a different kind of attunement The way that Stefano “find[s] sounds that call [to him]”, while Cameron “morph[s] and combin[es] sounds” to create a “quality that's partly in this world and partly in another” How negotiating one particular, secluded environment with a microphone, over an extended period, can increase the experience of intimacy with that environment, enhancing the listening experience  Whether listening in such an environment provides opportunities for imagining a better world, and to consider how creative practices can create outcomes that oppose the values of mainstream society How being “acutely” present in a natural environment can allow an appreciation of the “entanglement of species”, and of the “interwovenness” of the bodies of land and water which make up these spaces The way that time seems to “collapse” into a “continual flow” in such spaces - compared to the more structured interaction with time that most of us experience in day-to-day life The importance of remembering that “ecstasy [can] come [...] from very simple feelings like the warm breeze on your skin when you walk at night” How “liv[ing] in a crazy global situation [...], [means that] it's a very mixed feeling to be able to [...] just connect to [...] [things like the sound of a] grasshopper” - but that being in a natural space can also bring “a lot of those conversations to the fore”; taking the time to listen allows more mental clarity than the constant state of agitation within which many of us live. “By listening, we are moving peace energy. [...] It's [...] [a] political act” - so, “make your listening sacred”.  Melissa also spoke to Anna Clock, who co-founded Endless Fields with Stefano. Anna’s work as an artist, composer, and musician centers ways of listening, and encompasses theater, film, radio, installation, text, and live music. They also find the time to play the cello and offer affordable, gender-neut

“I welcome every noise around me. No matter what it is: a duck, a fish, a deer farting. [...] You invite it all. And [...] this is [...] when you realize [that] every inch of this planet is occupied and we are sharing and coexisting with other species - [so] how can you ever be alone?”  In this edition of Earth.fm podcast Wind Is the Original Radio, curator Melissa Pons speaks to  Serge Bulat, a multidisciplinary artist whose work - which spans and hybridizes music, exhibitions, immersive games, radio, field recording, and psychological installations - explores the edges of performance, sound, perception, and identity. Serge is from a Moldovan town divided from Ukraine by a river, with family hailing from both worlds. For this reason, borders are “a prominent subject in [his] work”, which seeks to question topics around unity, differences and similarities, and the utopian aspiration of finding “ways to live in a borderless world”. Earlier this year, he released Phonomundi: Selected Recordings of Heritage Sites and Traditions 2017-2024, an album which draws upon years of recording, sharing, and contributing to projects, causes, and stories close to his heart. Phonomundi is also about engaging with “our absolutely disastrous path away from respecting our ears and respecting our culture and respecting our environment”. Against a backdrop of woozy compositions by Serge, featuring nature soundscape recordings, he and Melissa discuss the trials of having a “noisy” mind, which feels like “war in your head” and means that “it’s hard to stop the thinking process” - but which can also lead recordists to “forget about [them]self and [...] start thinking about communities, people that are affected, and [how] that [can be] such an ego drop”. Serge also talks about how ‘now’ is illusory, and his “weird relationship with time”: “I guess it might be some form of synesthesia, because I feel time; I feel its thickness and I feel its qualities.” The flow of time is “one of the driving forces behind [him] doing what [he’s] doing”, while field recording can provide “the nowest now that there can ever be”. He describes how, after experiencing difficulties with conventional mediation, he managed to develop his own system of meditation around listening, where “time stops [...] [and] you find that serenity and that absolute calmness and, for me, this is when I stop the noise”. As he says, “We're all pieces of [...] a bigger body and we're [...] made of the same substance. [...] I always struggle to put anything like that in words [...]. It's easier for me to put it in music. [...] This is what music and sound does [...] and words don't.” Together, Serge and Melissa also address topics including: The relevance of creative work in the face of the climate catastrophe and alarming political developments across the world - including how music, as a precursor to language, can be “a shortcut [...] to somebody's mind, heart and soul”. While also acknowledging the necessity of “dig[ging] deeper [to] understand the issues [with which] we're living” Wanting to make work of significance despite “sonic pollution, [...] over-tourism, over-consumerism, weird politics that make zero sense when it comes to preserving [...] or nurturing stuff that matters and makes us us” - and especially in light of the fact that everything we know is at risk of “disappearing just by [the] pressing [of] one button” Learning to love silence. As Serge says, “We need to reset our hearing. [...] I feel like [silence] makes the ear function better” How it is possible to “feel and hear” bees’ moods from the frequencies of their buzzing, and how bee therapy (‘apitherapy’) - known since the time of Ancient Egypt - can improve anxiety, depression, and even respiratory conditions. “What bl[ows] my mind [about them]”, says Serge, is their “self-sufficiency, community, [and the way that they can] solv[e] a crisis [by] relying on each other” Serge

“I prefer to live in the fantasy, not in the desperation of the crisis [...], you know?” This latest episode of Earth.fm’s Wind Is the Original Radio podcast finds site curator Melissa Pons in conversation with Peruvian sound artist and ‘resilient designer’ Nahun Saldaña. In his work, Nahun explores the intersections between soundscapes and sound ecology, especially in relation to climate change and speculative sound future. Together, they discuss: The possibility of using soundscapes to drive the awareness that we all depend on the natural world - and even of using them to make companies prioritise caring for the planet rather than solely the pursuit of profit.  The ludicrousness of carbon credits (“Okay, you contaminate, but you pay for the compensation”), but the way that a similar model of mitigation could be applied to noisy manufacturers. The impact of individualism on people’s awareness (or lack thereof) of the sounds that they make and how those sounds may impact neighbours or the broader community around them How, in urban spaces, silence has become a new kind of luxury - one denied to people living in lower-income areas A tendency, within the nature-sound-recording community, to fetishise tragedies in the natural world by recording “the sounds of extinction” or the last examples of particular species, despite this not curtailing those tragedies. Is there an argument for focusing, instead, on “stories of regeneration and flourishing”? Whether sound technology can be harmful, and, if so, is it “more important to teach the kids to listen”? Nahun describes an instructive visit to a small jungle town where younger generations no longer have the ability to recognise specific sounds, such as the sounds of honey-producing bees - meaning that resources are lost as older members of the community pass away. The power of deep listening and the notion of “politicians with a capacity for [...] deep listening”, and what groundbreaking policies might emerge from such a (sadly improbable) possibility. Nahun's one of many projects Escuchadores: a physical structure installed in sound conservation areas conceptualized exclusively to listen and stay in the moment. We hope that you enjoy this episode, including Nahun’s irresistible exuberance and enthusiasm! You can follow him on Instagram, and check out the work - writing, photography, video, sound art, and ambient music - on his (Spanish-language) website.

“I don't feel like nature is somehow healing me - I feel as if my body is remembering what it's supposed to be like.” Earth.fm’s Wind Is the Original Radio podcast is pleased to share the second part of curator Melissa Pons’ conversation with sound designer and field recordist Andy Martin. (You can find part one here.) Here, in another thought-provoking instalment, Andy shares his thoughts about deep listening, questioning (in part because of the varied ways in which it is defined) the difference from just… listening. In the field, Andy “describe[s] [him]self as a witness”, of anything from “the trickle of water to hummingbirds which are out to kill each other” - but he refutes the idea of there being any “inherent meaning in a soundscape; it just is; it just exists”. Where deep listening often aspires to finding meaning or making a connection - “an intentional beauty or a message within the soundscape” - he asserts his conviction that there are no such intentions, beyond those of individual wildlife.  “I can listen in wonder and awe”, but “there's nothing there that is a meaningful, special interaction for me; it is just life existing. If we're looking for a deeper connection, a deep meaning within the soundscape [...] we're missing the reality of what's there, and we're trying to put our own feelings, our own belief systems onto that reality - and that's not my job. [...] My job is to listen and bring forth.” What Andy sees as people’s misinterpretations of the natural world overriding the reality means that, “The moment I hear someone describe a dawn chorus as an outpouring of joy, they've lost me. Because that's what it sounds like to us - but that's not necessarily what it is.” Further topics discussed in this episode include: The idea that, by entering other beings’ habitats, uninvited, recordists make themselves into “voyeur[s]”: “To imagine that I am not making a disruption when I go into that space [...] I think is very foolish” - one of the benefits of rolling out hundreds of metres of mic cables to listen while recording (another being the avoidance of self-noise: “I sniffle, I cough, I shuffle - I make a lot of noise”) The difference between American robins’ dawn and dusk calls and whinnies The close evolutionary relationship between birds, dinosaurs, and crocodilians - plus, a hair-raising story of being alone in a Louisiana swamp, hearing alligators booming in the twilight and legging it for his car. (Really, who can blame him?) Hearing soundscapes in those fog-shrouded swamps of the Atchafalaya Basin change over course of a year and noting the different times at which different species of frogs and insects sing, and the different frequencies in which they do so: Bernie Krause's acoustic niche theory in action The potential selfishness of making nature recordings, and whether it's necessary to assign a 'higher cause' to justify making doing so in ways that may exoticize the environments in which they are made Acknowledging the unlikeliness “that someone'll hear [his] recordings and dedicate themselves to some sort of ecological practice”... but also acknowledging the value of influencing people on a smaller scale - including himself. Though Andy states that he makes recordings for the enjoyment of hearing the more-than-human beings’ comings and goings, he also notes that listening to them has changed his own behaviour to the extent of affecting how he brought up his daughter The privilege of being involved in the Giving Contest organised with George Vlad and Thomas Rex Beverly: a call for donations for environmental causes, with nature sound recording bundles as prizes The way that spaces like the Amazon rainforest, which we think of as untouched wilderness, were affected by Indigenous, pre-colonial farming and water management: places where humans have in fact influenced ecosystems for thousands of years. More modern examples include the American bullfrogs which are

A new turn around the sun and a new episode, this month’s guest being Chris Treviño, a field recordist and sound designer from Michigan with a background in anthropology and currently pursuing a Masters in Industrial Heritage and Archaeology, focusing on ways of knowing his own town through its sound across its history. We’re talking about some aspects of sound as heritage and memory as well as its cultural value in which Chris conceptualizes the notion of sonic time capsule, how we humans relate to sound in different contexts and throughout time, and we also talk about his more recent project in the Isle Royale National Park in Michigan, where Chris spent almost two weeks recording while traversing the island by foot. Please find below all the references mentioned during our conversation: Video games composers: Yasunori Mitsuda and Nobuo Uematsu (the Chrono Cross and Final Fantasy series) Steven Feld - Voices From the Rainforest; the Kaluli people UNESCO heritage designations: https://www.unesco.org/en/lists-designations The Greek practice of the memory palace: https://artofmemory.com/blog/how-to-build-a-memory-palace/ Antônio Bispo dos Santos: https://futuress.org/community/antonio/ The Tonebenders Podcast episode with Chris: https://tonebenderspodcast.com/277-field-recording-for-the-national-parks-service-with-chris-trevino/ Isle Royale NP: https://www.nps.gov/isro/index.htm Chris Treviño SoundCloud: https://soundcloud.com/chrisatrevino Listen to the full recording of ‘Old Man and Grandson Watch Trains’: https://soundcloud.com/chrisatrevino/old-man-and-grandson-watch-trains Chris’ official website: https://www.chrisatrevino.com/Connect with Chris on LinkedIn https://www.linkedin.com/in/chrisatrevino and on X https://x.com/ChrisATrevino

Hello and welcome back to the Wind Is the Original Radio podcast! We have been longing to return and are so happy to kick-start this new phase with David de la Haye, an award-winning ecological sound artist focusing on underwater aquatic environments. This episode is a fun conversation - both uncanny and down-to-earth - about listening to underwater sounds and the fascinating experience of recording them. Plus, collaborating to create music from his field recordings and some necessary gear talk. David’s work is informed by his experience as a bassist, composer, and music technician, and by the process of cooperation with other musicians. He shares about how these processes go for some of his latest projects, and about the value of gathering people to make music.Learn more about David and his work on his website, https://daviddelahaye.co.uk/, and consider supporting him on bandcamp: https://daviddelahaye.bandcamp.com/.

A place dominated and overseen by large feathered creatures, acrobatic corvids and smaller virtuosos. Nearer the ground, the arched-formations of rock provide a refuge to others, from doves with their splashing wing beat sounds to mammals like red foxes, whose sounds are amplified and travel like an upwards spiral. This amplification serves as a delicacy to my ears, bringing closer to my perception many tiny movements, many of which are hair-raising. Maybe it's merely the darkness operating its dominating power over us or perhaps it's this intriguing dance between near-silence and the appearance of nocturnal creatures - both animals and rocks, for the latter feel alive on their own. The easily heard species in this recording are the tawny owl (Strix aluco) and the Griffon Vulture (Gyps fulvus). This is a specially quiet recording, so an equally quiet listening is recommended. Recorded by Melissa Pons in Spain.

Taman Negara is a large area of protected rainforest on the heart of the Malaysian peninsula and home to an abundance of wildlife including tigers, leopards and elephants. This recording features the sounds of a myriad of insects calling from deep in the forest at night. Recorded by Marc Anderson in Taman Negara, Malasya

I have a tradition of recording for the week around Summer Solstice every year. The long days and extended twilights draw out the liveliest and most expressive Dawn Choruses of the season. This year I’m in Sinlahekin Valley in Washington State’s Okanogan High Country. It’s a deep, long scar on the ground gouged and left behind by retreating arms of the Cordilleran Ice Sheets of the last several glaciated ice ages. Arid steppes on one side, fir-covered mountains on the other, the Valley draws a line that separates two of the major ecological regions in our State. Running much of the length of the Valley is Sinlahekin Creek, a meandering, beaver-controlled system that sustains a narrow strip of wetlands and riparian borders favored by passing migratory birds. Deep enough to not sustain strong wind, the Valley is a valuable shelter, sometimes for passing birds to rest, sometimes to stay. One of those birds is the Yellow-breasted Chat, a laconic-yet-vociferous songbird with a voice both louder and deeper than belies its small size. One of the more enigmatic songbirds of North America, the Yellow-breasted Chat is widespread across the continent but rarely found in dense numbers. It skulks about in dense riparian thickets and other shrubby habitats, nesting deep within and singing from a barely-exposed perch. More often heard than seen in late Spring and early Summer, when males produce long soliloquies in search for a mate (or sometimes two), they have a brief but explosively creative burst of song every year, only to remain silent for the rest of it. Recorded on Summer Solstice, 2024, this particular singer was a surprise. I had been hiking around one of my favorite valley campgrounds, enjoying the recent explosion of late-Spring songbirds, when I noticed a thicket that was particularly favored by local Lazuli Buntings. Nice Bunting recordings being a goal of this trip, I quickly set up a lightweight hiking recorder with a pair of small mics to leave overnight in hopes that Buntings could have time to sing as they saw fit. Imagine my surprise when listening back to the recordings and found more than an hours’ worth of a Yellow-breasted Chat singing close by, as if I’d set these microphones up just for him! Our Chat wakes up early in Nautical Twilight with a burst of whistles to rattle the neighborhood. After a brief rest, he begins his soliloquy of repeated grunts, rattles, beeps, and whistles. Soon, less than a minute later, the first distant songs of the next Chat over can be heard in the background. They space themselves out along the riparian border of Sinlahekin Creek just close enough to still be heard, far enough away to give each other space. While most birds sleep in and wait for more light, including Robins and Blackbirds, Nautical Twilight is their moment to sing. For most of the next two hours this little bird will sing from the same perch, only occasionally shifting directions as if he wants to be sure everyone has an equal chance to hear his voice. His voice grows louder and softer as he turns toward or away from the microphones. He’s so close the early reflections off the leaves of the thicket scatter his voice back to us loud and clear even when he faces away. With almost mechanical precision he continues his steady chanting song. As other birds awaken with the slowly breaking mountain dawn, the air fills with songs loud and soft behind — but never interfering with — the Chat. Soon there are cawing Crows, Black-capped Chickadees sweetly calling, “Phoee-be”, and Lazuli Buntings working out their unique and recently “crystalized” songs. A Veery sounds like a mournful flute the next hedge over. A Ruffed Grouse beats its wings with an almost too-low-to-hear “flah-thump”. Yellow Warblers, Red-eyed Vireos, Common Yellowthroats, and Spotted Towhees circle the neighborhood, calling from one tree, singing from another, never satisfied, at least not until Sunrise when everyone will disperse to live out the

You can hear the tide slowly approaching in the distance, with activity from all sort of birds in this patch of green in one of the busiest islands of the Bijagos Archipelago. Recorded by Sounding Wild in the Bijagos Archipelago, Guinea-Bissau