Radio Lento podcast

It isn't often we hear strange calls coming out of our long overnight captures, but this was one. The dead of night deep in the Forest of Dean, and a call that from the quiet emptiness begins to echo. Human?  Dog?  Muntjac deer? All three, or none? Muntjac deer are commonly heard repeating a single harsh bark across rural landscapes at night though this sound doesn't quite match the sound signature of muntjac, nor indeed dog, or human. The calling persists over ten minutes, seemingly human, then changing into something very much not human. What it is we can't know.  The sound comes from mid-left of scene. Whatever is making it is some distance from the microphones, which are tethered to the trunk of a huge oak tree growing beside a trickling brook hidden beneath dense undergrowth. To mid-right of scene is a country road that bisects the forest. Nocturnal cars occasionally speed through. The effect is curious, like a sudden wind is gathering in the trees, only to just as suddenly disappear. As the calling continues a tawny owl joins in. It hoots in that nervous kind of way they do sometimes, but then changes. Becomes a wavering quivering bleat, something like a new born lamb. It is fleeting. Then it is gone.  Building ideas of what is in the world around us from this kind of highly spatial binaural soundscape, especially from times and locations few of us are used to being within, can lead our imaginations into strange places. Notions of the supernatural. Happenings and occurrences beyond the normal boundaries. However to the eye, and if it weren't pitch dark, the scene would bear no comparison to what the mind perceives of this forest through hearing. There'd be no overwhelming sense of wide open space, no possibility of reverberances or echoes or happenings going on far away. Indeed no concept of distance at all. This is because what surrounds the oak tree is of course more trees. Lovely huge trees, draped in broad waxy leaves so green and so numerous the eye simply accepts the image as one vast surface of textured colour. A vail. The green vails make this huge forest place, from an eye-s perspective, just what is close. A walled garden. Safe, because it is completely hidden from view.  These very different perspectives of the same place reveal how hearing and sight fulfill substantially different roles when we are immersed in natural places. The hearing and sight we have was evolved in forest environments over millions of years. Within a world of green vails and visually obstructed views, sound travels freely, passes through leaves and around the solid structures of trees. Sound is spatial as sight is, has depth, width, and many other spatially sensitive qualities. It affords us with detailed information we need to gain a three dimensional spatial image of the world beyond what we can see. These complex interleaved vibrations land on our eardrums and are modelled spatially to alert us to the presence of things, what they are doing, and their location in space. But what sound also does, and what we as Lento are most intrigued to capture, is to convey and confirm to a vigilant mind that nothing is also happening. Not nothing as in silence. Instead, it is that sweet, soft, murmurating texture of half meaningful sound, like billowing fabrics, that simply say yes, the world is all there.  * This segment is from a 72 hour non-stop recording we made in May 2022 in the Forest of Dean. After the callings and the owls are gone, a little creature can be heard scuffling and making tiny quivering tweeting sounds as it goes. Soft planes pass over this area, helping to dispel any notions that this strange sounding place is anything other than the familiar world we all live in.

Daytime contentedness can be found here. Between the rustling leaves and trees of Folkestone Warren that rolls greenly down towards the sea. We couldn't have known when we set up the Lento box under hot early August sunshine that the next day of recording would bring such strong breezes.  This strip of natural Kentish land is made of green plunging wilderness. It has a campsite next to a rocky and sandy beach. There's a cliff top cafe too, from where you can see France on a clear day. After stopping for a cup of tea, follow one of the steep paths, down into a sea of green. Find a gap between the trees. Try listening for the actual sea. For echoes of children, distantly playing on the beach. For a passing train on the hidden railway. The buzzard. Slowly circling.  Wind that waves in the branches, shakes and rustles the leaves, may not to the eye look particularly calm. And yet to the ear, these movements sound calm. We definitely feel a physical response to strong undulating breezes as they press and sigh through banks of trees. This daytime section capturing the sound-feel of this place reveals how time passes here, an ordinary weekday in early August.

An hour of uninterrupted white noise. Naturally occurring and fully spatial. Captured by the Lento box last weekend from a tree overlooking the beach under Folkestone Warren. Low soft rumbling of the crashing waves. Mid-range curtains of dark grey-blue backwash, that seem to billow and shimmer like hanging fabrics. Fine layers of crisper whiter noise, formed from the frothing and fizzing sea water as it is churned and blown by the night wind. The subtle hiss as countless leaves catch in the undulating wind.  The scene is of the wide open beach. And of the tide, very gradually going out. A breeze, quite firm at around 18 knotts, is whisking up the waves. The place is entirely deserted. It's around 4:30 am. Several hours until dawn breaks. Being a raw location recording there are a few planes that traverse the sky, though their sound easily dissolves between the waves. Something, perhaps a small mammal, pads up to the tree holding the mics, then carries on to wherever it's going. A dark bush cricket occasionally starts up as well. It's quite late in the season for them.   The ground underneath the tree holding the mics is layered in dry leaves left over from the summer. Just ahead, down a steep drop, the ground transitions into large jumbled boulders. This strip of loose rock is in range of the high tide, and probably is semi-submerged when the spring tide coincides with a North Sea surge. During the day people pick their way over these rocks in search of fossils. Folkestone is so we're told a fossil rich area. Our objective for travelling back to this beach location in Folkestone was to capture the reflected sounds the high tide makes as it laps around the boulders under the trees. We witnessed these sounds earlier in August, but ran out of time to properly record them. Returning last weekend to try again we found there was an 18 knott wind whipping everything up, and a different and wilder seascape. What we have managed to capture though is how the receding tide in this particular location produces a rich and very stable source of uninterrupted natural white noise. Naturally occurring white noise sounds so simple and yet is infinitely complex. These seemingly contradictory qualities may be why natural white noise from real places like this promote both wakeful concentration and vigilant restfulness, that unconscious conscious state of mind where you seem to be able to perceive  everything around you as one fulfilling thought. A thought so in and of itself complete, it frees you from the need to think of anything else.

Last week we shared wide time captured from a North Norfolk beach as night fell. This week it's wide time from the vast interior of the Kielder Forest. Human-free night vastness is an experience so out of reach to us, and indeed to most people, that travelling with the Lento box to bring it back in the raw is always top of our list. Kielder is a mostly uninhabited landscape made of hills, trees and water. It is England's largest fir plantation on the north east border with Scotland. You may remember we travelled there in May to find and capture new episodes. This section of time is from around 3am. The Lento box is recording alone laid against the trunk of a fir tree on the east side of the 9 mile long reservoir.  The sound landscape of Kielder at night is extremely spatial and delicate. Made up of subtle changing movements of air over miles of fir trees. Of occasional nocturnal flying geese. Of echoes, layered upon echoes. Of tiny twigs and branches shifting as the trees gradually droop their boughs in response to the night cool. But these sounds though precious are not of themselves what makes the experience of being immersed within the Kielder Forest so special. And they are not the main aural presence we left the Lento box out alone to witness.  What we wanted to capture from within Kielder above anything else, was the phenomenon of wide time. Wide time is not of itself audible. It's made of nothing. Or more accurately, emptiness. To gain a sense of wide time you have to allow yourself to mentally tune into it. And that takes time. And a quiet place to listen. And decent headphones or equivalent. And a long form spatial audio recording that comes directly from the natural emptiness of Kielder Forest at night. A place where wide time happens.

Holme Dunes, Norfolk.  At low tide, and with night approaching, we finally managed to set up the Lento box on a tripod on the sand, mics facing out to sea. It was the curlews at dusk, framed within the vastness of the empty beach, that we wanted to capture as a photograph in sound. It felt good to have reached a spot to record, after a lot of walking. It was though still only the mid-point of the intertidal zone. A very low tide.   The mid-point proved interesting. Such a low tide leaves exposed an enormous area of flat hard sand. The landscape seems to guide the sound of the sea into your ears over long distances, and from very wide angles. It's what we love the most. That feeling of being very very small in a vast open and entirely naturally formed space. Naturally formed, naturally murmurating, and with magical fleeting calls of curlew. We explored the area around the box for a while, then realised we had a problem. Light. The levels had been dropping while we'd been walking. Ten minutes into the record we turned round from the end of the sunset and realised the land behind us had gone almost completely black. Getting up the beach would be ok but finding the narrow and indistinct footpaths where we'd come through the dunes was definitely not going to be ok. There were no street lights or navigation points.  But the atmosphere was so exhilarating, so precious, we let the box record for just a few more minutes. We then scooped it up and hastily began the next mission, to find our way back. This is why episode 239 is shorter than usual. Shorter but we feel important to share because it conveys some of the sound-feel of being out in a vast intertidal zone, empty other than the curlew, with night fast approaching.

On the breeze, rich scents of hot Norfolk farmland. In the air, tiny wippling birds. Some swallows? Across the field, and across the next, a combine harvester large as a house. And quick as a car. It sails low over the far meadow, like a paddle steamer on a bright green sea. Standing on the Peddars Way, Lento box in hand, we've stopped to take in the heat, and to listen. Wide carpets of crickets are cricketing all around the meadow grass. They're happy. Baking like us, under a hot midday sun. We search for a tree. For a natural tripod. We scan the thickets that line this ancient route. It is quite a silent process, and the box swings gently. It's waiting for us to find it a good spot. The spot it needs is specific. An aural point in the landscape where everything meaningful can not just be heard but heard in a spatially balanced way. An aural meeting point where the box will "see" the whole landscape as a sound photograph. Eventually we find a very old oak tree completely covered in hairlike moss. It's amazing. Very carefully we rest the box between two intersecting boughs and check how the sound photograph is going to "look" through a pair of stereo headphones. Good we quietly say, providing this breeze doesn't ruffle the surrounding leaves too much. The weather seems fair and stable, so we leave the box to record alone.  * We captured this sound-scene (our 100th unique location and 25th county) on Norfolk farmland on a hot July day. The old oak tree stands on the Peddars Way, a 49-mile National Trail which follows the route of a Roman Road. Tiny birds flit and flutter amongst the thickets under the wide sky where rumbles of distant military jets can sometimes be heard. A combine harvester is at work far right of scene. If you're able to hear high pitched crickets, their sound sometimes wafts in an out too from the meadow. Red kites overhead too.  Thanks for listening, and to Lento supporters who've helped us to bring 100 UK landscape locations in high definition spatial sound to this free podcast service.

It is first light. Birds are waking. Beginning to fill the air with sonorous sounds of life. A few dark bush crickets are still cricketing, just, though soon they'll go quiet for the day. The view is of green. More green. And yet more green. A whole valley of thickly growing thickets, trees, and dense shrubs, slowly emerging into visual reality under an increasingly luminous dawn sky.  Another form of energy that illuminates this steep verdant valley, is from the sea about a third of a mile down from the recording location. It's acoustic presence perfuses the air, just as light does from the sky. The aural daylight if we can call it that, is brightest at high tide, and darkest at low. Sea light does not flow evenly as light from the sky does. It flows in slow undulating breaths. Follows every contour of the ground. Brushes through every tree, branch, leaf and shrub. Reminds us that like the sky, a huge mass of something unimaginably huge, is there, and moving, beyond our view.  * This is the third segment from the new series of sound landscape recordings we made last month at The Warren in Folkestone. Episode 235 was from the dead of night, and this segment is how dawn sounded at the same location.   ** NOT sleep safe due to noisy gulls and wood pigeons!

Capturing the experience and 'sound-feel' of crashing waves is always a challenge. Strong on-shore breezes and the unbridled energy of thousand ton waves breaking over unyielding rock can simply be too much for sensitive microphones. Yet as we sit on the concrete sea defences, bathed in hot afternoon August sun, waiting for the first tingles of cold sea spray to land on our legs, the experience is as serene as it is thrilling. How can this be? Something huge, heavy and aurally overwhelming is also serenely calming and relaxing? Our ears hear the landscape around us and let us feel its space and physicality. Hearing, in a way, is a kind of touching. Given the power and tumult of these waves as they break over the rocks, it isn't possible to be bodily touching them, but we can touch their weight and mass through our ears. Layers of white noise produced by crashing waves, rising and falling, folding over each other, straddling us with their weight, reveals how mere vibrations in the air that land on our eardrums are instantly sensed and translated into physical responses. Responses that are felt as a result of being heard. This is what we mean by 'sound feel'. We might say the thrill is the head's response, the excitement that comes with loudness and chaos. The serenity is the bodily response. Nerves, bones and muscles, relaxing, as they do when massaged.  So sitting on the sea wall facing crashing waves, hot in the sunshine and still in earshot of the odd cricket hiding in the seagrass, is a bath and a massage. Wild sweet peas dancing in the breeze on an empty path. Buzzards circling overhead. We feel drawn to this ragged edge of land and to capture it as an audio experience that can be re-experienced when we cannot physically be there.  * This piece of time we captured in early August from a nearby location to last week's episode (235) from Folkestone in Kent. This stretch of exposed beach at the foot of The Warren. Two perspectives on the same stretch of coast called the Strait of Dover. Without the sea, The Warren would not exist in the aurally rich way it does.

Welcome back to a new Lento season of captured quiet. Sound landscapes from real places. This segment of spatial audio, best through headphones, was captured on the Kent coast in early August from beside a winding path in a steeply wooded area of Folkestone called the Warren. France is visible from this elevated spot. Around half a mile below, is the beach and the crashing waves. It is midnight.  The ground here is sandy and dry. The only way through is the path which winds down and around and down again, almost endlessly, between trees huddled behind thick shrubs and blackberry bushes. Eventually you come out by a railway line. It seems out of place so close to the sea. Before you reach the beach, there's a cluster of tall trees with long rope swings. The environment is so green and steep and tangled that it has a uniquely soft sound feel.   Here, on this August night, dark bush crickets form the main sound-scene against a back drop of distant crashing waves. One stridulates close to the Lento box. Another type of cricket, lower in tone, is audible over to the left. We have not heard this type of night cricket in England before. A few trains pass in the valley below, and a few planes too, though Folkestone has generally quite a quiet sky.  To get the true aural essence from this audio, which is from an exceptionally soft and quiet location where you'd need to strain your ears to hear everything that is there, try to listen with headphone volume set so you can just hear the murmurings of the sea below. Find somewhere quiet to listen to this episode and you'll get more from it.

Welcome to this final intermission of August 2024, a specially blended episode of soundscapes from wild and exposed places taken from the last year of Lento. The first three sound-scenes reveal aural views of the outside world seen from within interior places. A coastal hotel room, the belfry of an ancient church, and inside a bird hide. The final sound-scene is of an exposed estuary by Burnham-on-Crouch in Essex, and a slow passing ship. Each portrays the essences of wild places.   214 Storm over hotel peninsula A birds ear view over Plymouth in the far south west of England. This is how Storm Kathleen sounded from behind the huge plate glass window of a comfortable cushioned room on the fourth floor of a hotel. The hotel overlooks a district called The Hoe, where one of the original Eddystone Lighthouses now stands. the wind was fierce, whistling almost singing through the window seals. A blended soundscape, formed from the interior acoustic of the hotel room and the wide open windswept night beyond.  200 Windswept night in the belfry of Rye Church Up steep ladders on the top platform of the belfry inside Rye Church, the ancient clock counts through this small night hour. Its regular sound blends with long and undulating gusts of fresh sea air. Air that's travelled, over miles of sand, shingle and marshland, from out on the open sea. Moving air sighs between the shuttered rafters and rattles the steel flagpole outside on the castellated parapet wall. Knocks the dead weight of a loose slab of stonework out on the belfry roof.  194 Inside a bird hide The atmosphere inside a bird hide is quite unusual, as interior spaces go. Low wind moaning in the drooping wires between telegraph poles. Whispering rushes and siffing seed heads of marsh grasses. Indistinguishable shifting murmurings, of the surrounding landscape, blown in through low letterbox windows. To the ear there is a lot of outside to be heard inside a bird hide. A fleeting curlew. A humming propeller plane. A distant pair of passing footsteps on the gravel towpath.  196 Estuary bleak passing ship Warm inside an all-weather coat and facing out across the water. Sat, boots wedged against the top ridge of the slanted seawall. There's rain in the air. Time to take in this wild estuary place. Right of scene the small Essex town of Burnham-on-Crouch. Directly ahead across the water Wallasea Island. Left of scene wild swirling water stretches seven miles to the North Sea. Sit tight, here on the seawall. This is empty time, to listen to the landscape and a slow passing ship.

Welcome to intermission 3 of 4 and another specially blended soundscape taken from the last year of Lento. The theme is rain. Gorgeous, refreshing, soothing rain. Four sound-scenes that reveal the way falling rain varies in texture and feel across four different locations.  204 Rain falls on steep craggy woodland (*sleep safe)  Fresh rain. Fresh woodland rain, from Miller's Dale in Derbyshire. From a hedgehog's perspective. Low on the forest floor, amidst the leaf litter, and the tangled ivy. As the new day began to dawn, the Lento box listened, Faithfully capturing the aural experience of the falling rain on dense woodland in the Derbyshire Dales. This rain can be heard falling onto wide waxy leaves against many layers of more diffused rain falling onto hundreds of tall trees, and a white noise vail rising up from the river flowing over rocks in the valley below.  228 Summer rain under the wisteria (*sleep safe) Nocturnal rain falling over many little back gardens, in waves of varying intensities. we wanted to hear what rain sounded like when the city had fallen completely quiet, and the Lento box was exposed, sheltered only under plants. We waited for a night where persistent rain was forecast and left the Lento box out, beneath a large wisteria plant, close to an old Victorian brick wall. This sound-view of rain is shaped by the way each drop lands on the wisteria leaves immediately above and around the microphones, the intimate reflections caused by the garden wall, against a backdrop of more diffused rain landing over shrubs, a yard to the left, and many gardens beyond.  197 December rain light to moderate (*sleep safe) Captured from only a matter of about ten yards from the previous segment, this rain sounds entirely different. Different because the gardens are in deep winter and the air Temperature was only around 7 degrees. Enough to drift the ice cold raindrops and ruffle the leading edge of the wide tarpaulin that we'd stretched over our back yard for shelter. You can really feel how each falling drop heightens the spatialness and emptiness of this calm city night scape.  189 Night rain falls on a drystone wall (*sleep safe) This rainy sound view was recorded from the top of a drystone wall overlooking fields of nocturnal sheep, in the North Yorkshire market town of Settle. Rain comes and goes. It's a very ordinary field in many ways, and not far from a very ordinary sounding B road with some occasional night traffic on it. Combined with the odd soft arching plane, the sound view exudes a pleasantly harmonious aural fabric that is soporific and sleep safe. This segment last about fifteen minutes and in contrast to the previous segment is centred in a huge and dramatic landscape of plunging moors and lushous green meadows.

Welcome to intermission 2, the second specially blended soundscape from the past year of Lento. This week's theme is waves and shorelines. There are four sections that blend effortlessly into each other. The sound-view into each watery place lasts around eleven minutes and enables you to compare and contrast the wide variations in aural detail from place to place, beach to beach, and at different times of the day  and night.  185 Onshore breeze on Chesil beach  Chesil beach has an astonishingly powerful aural presence. The Lento sound camera is pointing directly out too sea, about fifteen yards from the breaking waves, capturing the deep visceral sound feel of this steep and stark Beach. The heft of the receding waves, as they haul back huge quantities of heavy spherical shingle. The advancing waves, curling and then breaking into white sound walls of spray. And the ever flowing on-shore breeze. Through listening you can feel the weight, shape, and rhythm of this 18 mile long beach on the Jurassic coast of Southern England. 216 Sat on the sand of East Looe beach A perfect spot for an uninterrupted cinematic sound-view of crashing waves on East Looe beach in Cornwall. Waves in all their crisp textural detail. Can you hear which way the longshore drift goes? It can take a few minutes. The waves feel powerful in this spot on the sand. Sometimes thunderous. Thunderous, and yet calming at the same time. the presence of the seawall (behind) and pier (to right of scene) gives this beach an unusually enclosed sound feel.  188 Rock seat on Rye Harbour beach Near a limpet covered wall, beaten into shape by high tide waves and squally weather, are some rocks submerged in shingle. Rye Harbour shingle. Advancing waves keep rolling in. Splashing and breaking, as much onto each other as they do onto the smart grey contoured shingle. Rye Harbour feels as wild as it is panoramically empty. So enjoy some empty time, just listening to the crashing waves as the tide slowly goes out.   211 Nothe Fort at night - quiet swirling waves These are lazy waves. Rolling and slooping over half submerged rocks. Being the dead of night the quiet in this place is Pristine. The Lento box is recording from a tree looking out over the water beside Nothe Fort in Weymouth. The sound view of these waves, against such a perfect backdrop of solid nocturnal silence, is highly spatial and aurally clear. It's why we've travelled back to this precise location twice to capture their sound.

Welcome to our first intermission episode. August is an especially busy recording month for us so while we are away, we want to share with you some specially blended soundscapes from the past year of Lento. This week's theme is streams and rivers. There are four sections that blend effortlessly into each other. The sound-view into each watery place lasts around eleven minutes.  209 Downstream of the old millSteep meadows all about, sloping down into a water meadow in the Derbyshire hills. The water's running fast. So much rain. The woodland birds are singing across the valley in their full spring song. This is dawn, on a wonderfully bright spring morning.  184 River rilling through Millers Dale Here's the night sound of the river Wye flowing through Miller's Dale in the Derbyshire Dales. Open country water. Cool. Refreshing. Consistent.  226 Perhaps a perfect upland stream This stream follows a country road high in the empty hills above the small town of Ceri in the Welsh county of Powys. We've shared many sections from this 2019 recording over the four years of Lento. The area feels magical, being very near to the Ceri Ridgeway (Kerry in English) an ancient route used for trading between Wales and England. This section of time is from the dead of night where no wildlife is audible, the entire focus is of the stream, and the acoustical properties of the hidden dell ankle deep in dry leaves.  203 Dartmoor stream Below a stone circle high on Dartmoor called the Nine Maidens there is this racing stream. It threads down through steep sloping pastures, enters an area of dense forest, and Becomes enmeshed with the sound signatures of tall, reflective, overhanging trees.

Fir trees don't have what you might call normal leaves. Their leaves are needles. Each tree possesses many needles, too many to count. Especially when the height of these trees ranges from 12 to 23 stories high. Concentrated in these myriad tiny needles, is a wonderful and special power. Position yourself deep within a fir forest, with even the slightest of breezes blowing high above, and you'll feel it.  You'll notice it first as a sound in your ears, but that is only where it starts. The softest, the most velvety, the most spatially rich sound imaginable. Without realising it, the sound passes from your ears to become a sigh In your chest and lungs. Further it flows, permeating through your whole body. The more you tune yourself into the sound of the fir trees, the more you still your own motion, the more you detach from the need to think of anything else, the more the waves of relief flow. The sensation is real, a palpable response to the aural awe diffusing down into the  spaces beneath the firs. Fir trees we feel create such powerful and yet enchantingly delicate sounds, that since experiencing them high in the hills of Dentdale last summer we knew we had to try to capture more. More fir trees in more different contexts, across more ground. That meant we had ultimately to go to the Kielder Forest, the largest fir plantation in England.  This sound capture is from a location in the Kielder Forest called Forest Drive. After reaching the area and then following rough tracks cut through the forest over several miles, we reached a place where a huge section of plantation was visible processing down the valley. Row, after row, after row of tall fir trees. The effect was enchanting, and fixed us to the spot. As we stood looking the wind began to rise in the treetops. The sound came. Velvet brown waves, of physically rejuvenating sound. It took our breaths away.  If you are able to find a quiet and still spot to listen to this episode with a pair of good headphones or Airpods with noise cancellation, the Lento microphones have managed to faithfully capture quite a lot of the aural perfection that existed inside this huge forest, on that warm and blowy spring day earlier this year.

On a warm May evening deep in the Forest of Dean, the sound of dusk is alive with birdsong from many different species. The air literally fizzes with the energy produced by avian communications. Their calls and songs echo over long distances, they reflect and bounce from tree trunk to tree trunk, reverberate and dissipate. It's the sheer quantity of solid surfaces that give this aural environment the quality of being inside a cathedral. A cathedral of trees.  As dusk advances the light levels drop. The soundscape thins, and simplifies. Many species stop singing, leaving aural space for the wood pigeons and song thrush. The lower overall sound levels mean the humming of countless bees and other insects can be heard. Noise from human activity seep and filter into the inner forest space too. It's a sound environment that's now leaning, to one side, and starting to reveal the tawny owls.  Night nearing, the strange call of the woodcock on its roding flight enters into your sound view. Half way between a quack and a call and ending with a squeak. Now the forest is wavering on the edge of reality. Rumbles from passing planes are captured within the cathedral like voids, and continue to reverberate as if the trees are purposefully holding onto the sound. Perhaps these old and ancient trees aren't sure what these sounds are? Maybe the trees are rolling the rumbles around within their leaves and branches, as we do with our hands and fingers to better understand a strange textured stone we pick up on a beach.  After darkness falls, reality falls too. Nothing makes sense anymore. The forest has become a hall of sound mirrors. The rumbles, the echoes, the distant hoots of owls, the shapeless calls of animals, billow thinly like floating vails of grey. There are the crisp trickles of a stream, hidden under tangled vines. And the heavy movement of several ground hugging creatures, perhaps badger, perhaps wild bore, grubbing about and snuffling for bits and pieces to eat. But what seems to be there, throughout, or perhaps issuing from underneath the land itself, is a deep, cavernous smouldering. Could this be the sound of the Earth itself?

Earlier this week we left the Lento box out to record overnight. Persistent rain was forecast from midnight onwards after a spell of dry weather. We never lose interest in the sound of falling rain. Being outside during a shower invokes strong feelings that must have evolved over millions of years.  To make these local rain recordings we normally set the Lento box on a tripod underneath a tarpaulin that's stretched out over the back yard. The tarpaulin acts like a horizontal cinema screen, catching the drops on an X Y axis and producing the type of rainscape sound that we've shared in many other episodes. This time though we wanted to hear what the rain sounded like when the Lento box was exposed, sheltered only under plants.  We set the Lento box beyond the yard, close to an old Victorian brick wall. The space immediately around the box was dense with leafy foliage from a wisteria plant growing along the top of the wall. It provided good shelter, or so we thought.  The recording worked. The Lento box, while completely soaked, did reliably capture the wide and shifting soundscapes throughout the night, perfectly. Falling rain, as it came down over many little back gardens in waves of varying intensities and droplet sizes, determined by atmospheric conditions high above. But being so exposed to the elements, and sensitive to all kinds of sound, large heavy rain drops hit the box that fell between the wisteria's abundant leaves. Each drop landed on the box with a sharp tap. Hundreds of taps, maybe more than a thousand. Each drawing the ear's attention to the microphone box itself, which as with a camera should never be in shot.  Our choice was to scrap the recording, make a better overhead rain absorption solution and try again another night. Or listen through every second with a keen ear and a micro editing tool to unpick each drop that struck the box.  Of course we did the latter and it took six hours. Crazy perhaps, but as we cleaned off ten seconds, and then half a minute, and then two minutes, then five, the process developed a momentum of its own. Like restoring a damaged painting bit by bit, gradually restoring to clarity the spacious and detailed sound image of the night. The countless raindrops as they fell onto the wisteria and the leafy shrubs. A meditation on one unique night, of falling rain.

Being out on a headland is an experience as fresh as it is freeing. Fresh because these steep craggy places resound continuously, without end, with the effects of ocean and wild weather. Freeing, because they let you feel with all your senses, the reality of the world. A world seven tenths covered in water. Like bathing in forest sound created by the micro-turbulances of air moving through countless leaves and branches, a headland soundscape is also formed from panoramic layers of natural white noise, created by the movement of water over countless rocks. Or should we call it white sound? Noise is usually associated with what is unwanted. These noises are wanted. So good, so therapeutic, that we feel it's worth travelling long distances with the Lento box to find them, and record them. The tricky bit is capturing the layers of white sounds from the landscape when we get to it. Headlands are windy locations, and the noise of wind cuffing in the microphones is what we work to avoid. The sound has to be from the landscape itself, and not from the microphone baffles. Here is another passage of time we recorded earlier this year at the headland in West Looe, Cornwall. Light rain falling delicately, and spatially, onto new green leaves, against a wide panoramic backdrop of well dispersed ocean breakers. It is a night landscape entirely free of human made noise. Between the slow undulating washes, a passing seabird can be heard mid-way through the capture.  * You can hear daybreak from this same location in episode 221. ** Our last four episodes have been *sleep safe*. If we have helped you rest this month, could you buy us a coffee?

Perhaps it is, though you may know of one even more perfect. This stream follows a country road high in the empty hills above the small town of Ceri in the Welsh county of Powys. We've shared many sections from this 2019 recording over the four years of Lento. The area feels magical, being very near to the Ceri Ridgeway (Kerry in English) an ancient route used for trading between Wales and England. This section of time is from the dead of night where no wildlife is audible, the entire focus is of the stream, and the acoustical properties of the hidden dell ankle deep in dry leaves.  We often think about what it is that makes the sound of a perfect stream. The particular combinations of musical tones maybe, as the water flows down over uneven rocks. The spatial details that make it one coherent sound-scene, panoramic, from far left to far right. The unique blending of white noise properties, acoustic reflections and other phenomenon created by the complexity  of the physical space itself. Every one of these audible aspects are seen by our listening mind to form the sound image we hear. Every detail matters in the composition of the audible image, and aural phenomenon of a perfect stream.  if you've not yet tried listening to Lento through headphones or Airpods how about giving it a go. Phone and room speakers can't convey the spatial content central to Lento recordings and that are key to the sound-feel that we call 'captured quiet'. The quiet is what hangs between the voids in a long-form spatial soundscape. It is only perceivaable with headphones or Airpods and it can take ten minutes or more to begin to sense its presence.

Night rain, as it falls onto a quiet suburban garden, has a cool and spacious sound-feel. It seems to help focus the mind's eye onto the presence of objects and surfaces that without the rain would simply not exist, to the ear. Even to the eye, in such murky darkness, these objects and surfaces are not things that make sense in and of themselves. This nocturnal suburban soundscape, stippled with falling droplets, reverberates with the ever-present ever wide city rumble. City rumble is not a warm nor a cold sound, and has no shape other than always to be the same shape. It's always there. Always present. Permeates every inch of outdoor space with a steady unchanging and strangely indeterminate aural glow. It has something to do with all the buildings. Something to do with all the distant machines that whirr and whine as we travel about, keep warm, keep cool, keep moving. Something to do with urban life. A little back garden in North East London is such an ordinary place from a soundscape perspective. There is nothing here to peek the interest in conventional terms. You'd probably never hear a place like this through any normal broadcast audio channel. And so the idea of a quiet soundscape, a quiet brutalist soundscape, made of layers of indeterminate aural glows, echoes of indeterminate activity, reverberances of empty spaces under a wide an empty sky, must make its indeterminate way to the edgeland of the audio world. And that is here. On Lento. A quiet brutalist soundscape from one rainy night in March.

Back we go again to Miller's Dale in the Derbyshire hills. To this quiet spot, beside a shallow river wrilling. There's a country lane, and a steep grassy bank down to the river where an old tree grows. The tree, so gnarled, and with an unusually stout trunk, must have grown here for decades. Maybe even a century, or more.  At about five feet from the ground it split into two almost equally thick boughs from which winding branches reached out over the river. Covered in moss. Dense with summer leaves. Something had drawn us to this place. We climbed down because we wanted to hear how the river sounded from underneath the tree. It wasn't easy. We had to hold on to the trunk to stop us rolling down into the water. From underneath we found the leaves worked like a walled garden, cradling and reflecting the aural qualities of the swiftly moving water. It felt like a perfect place to sit and listen, so We felt around the moss and hung the Lento mics beneath one of the thick boughs and left it to record through the night. This section is from the dead of night. The river is flowing steadily. Steadily over the time worn rocks. Above the tree the open sky must have been thick with cloud. Almost all the wildlife is asleep, or making noise that is hidden by the sound of the water. Aeroplanes over fly from time to time, ploughing their nocturnal ways above the clouds from one civilisation to another. The English landscape, however rural looking, is very often aurally speaking not wilderness but edgeland. This is a real sound landscape that represents the world as it is. Whilst listening back to prepare this episode we heard tawny owls calling to each other, from far across the fields.

Whilst walking up towards the observatory in the Kielder forest, we passed large areas of cleared woodland. "Fallen in the great storm of 2021" a passing forester explained in the afternoon sunshine. In some sections, the trees had been cut and stacked. Rows of tree trunks that smelled deliciously rich with the resin-y smell of Christmas trees. We found the smell instantly relaxing, as if it reduced blood pressure just by inhaling it.  We stopped on a steep rough path by a rushing burn, to take in the pristine quiet ambience. Banks of wind were brushing across the high tree tops. Grand firs, whose countless fine needles instantly convert wind energy into rich brown sound. The rushing water permeated the surrounding space with what we feel is the cleanest white noise mist we've come across this year. Capturing this sound scene was something we just had to do.  Finding a suitable tree for the Lento box by the path wasn't too difficult. Bathed in the white noise mist and the brown sound of the tall fir trees, we left the microphones alone to capture this passage of time. Slightly to the left of scene is the rushing burn. Fresh water speeding shallowly over steep flinty stones. High above and undulating from right to left of scene, wind brushes the upper tree tops, filling the air with waves of softly hushing sound. Various songbirds are singing, wrens and blackbirds but willow warblers seem to be very common in the Kielder Forest. Their song while quite fleeting is a lovely droopy descent down a simple scale of notes. It's very similar to the chaffinch song, only purer, and without the musical somersault that the chaffinsh seems to finish on.

In our quest to capture the pure sound of trees in true spatial quiet, we have without realising it, been following a long and winding path that has ultimately led us here. The Kielder Forest. It's a remote place for England. A place where the sound of trees can properly be felt and heard. A place where millions upon millions of trees grow together, across an area of 250 square miles (400 square kilometres).  Planning this recording trip involved OS Explorer map OL42. We also checked flight paths and road maps to try to guess what extent human made noise might filter into the forest. From the sparse few roads and giant area of uninhabited nothingness, the location looked on-paper like a very quiet place indeed. Ideal we hoped for capturing the real sound of trees, in high definition audio. When we say the 'real sound of trees', we mean the spatial sound of trees in an ever undulating wind. Wind that shifts in strength between soft to medium. Ideally with most variations around the 10 to 20 knot range and that peaks every now and then with slowly rising and slowly falling currents in the 25 to 30 knot range. For the spatial aspect, the trees need to be over a very wide area, and very tall. To be spruce and fir, because these make the sound-feel that we are most interested in. Evocative deep brown hushing.   Somewhat optimistic for these very particular conditions, we travelled up country and ventured deep into the forest. We found a location near the dam of Kielder Water, and in driving rain left the Lento box tied to a tree. Then returned to the village some way outside the forest to stay the night. It always feels strange to leave the box behind, alone in such a vast place. Now we are home and listening back, what it captured is magical to us. Here is the period of time from 3am to just before 4am when the majority of spring birds begin to sing in first light. The wind strengths aren't strong, but there is an undulating wind that can be clearly heard in the tall spruce and fir trees as the banks of wind move across this region of the forest. Echoes of owls can be heard too, distant geese and a strange barking which we can't quite identify. Delicate layers of bird song gradually begin to build as the time approaches 4am.  * As always with Lento listen with headphones or Airpods to properly hear the full range of aural qualities we strive to capture and share.

Time to take in a view. A panorama that changes with the wind and the tide. It's about six o'clock in the morning, and the Lento box has been recording through the night, tied to a windswept tree facing directly out towards Looe Island and the English channel.   The scene has an aural horizon formed of disapated ocean breakers, crashing against rocks far below. Blended layers of panoramic undulating natural white, grey and brown noise. Close by, newly sprouted leaves flutter around the microphone box in fast currents of blustery air. As the gusts subside, a softer, calmer view of the headland is revealed.  There's a fresh bracing feel to this place. Spring birds sing and call. Land birds such as chaffinches, wrens, robins, chiffchaffs and wood pigeons. Some sea birds too, herring gulls and possibly some oyster catchers. It's an exposed location. Unsheltered from the elements blowing in from the vast and empty sea. Unsheltered, and so thoroughly enlivening.

West Looe at night. A Cornish town on the edge of the English Channel. An edge where human things end and emptiness begins. We've shared a few captured sound scenes from here over the last month. This is the one if you're searching for the sound-feel of long, true night quiet. What is true night quiet? Capturing rich and detailed audible quiet, in contrast to dead meaningless silence, is what we're always trying to do with Lento. By rich and detailed we mean those aural essences, those often very delicate sound signatures, that give a place its own sound feel, and that aren't actually created by anyone. The sound feel of a place is formed and shaped by what's in it, its geography and its weather.   On this part of the Cornish coast we found very little human made noise during the night. No aircraft overflying. Next to nothing on the roads. Just long stretches of time where the softness of the place's sound-feel can be experienced with clarity. This episode is a section of time from around 3am in early April. A blustery weather front was blowing in from the sea, billowing along the narrow lanes of West Looe, cuffing in the roof gaps, whistling somewhere in a distant chimney pot. Fresh. Very spatial. A true and uncluttered piece of time.  Here are our top tips about how to re-experience this captured quiet. Find a relatively peaceful spot and listen through headphones or airpods. If you have Apple Airpod Pros set the volume just over half way at about 60%. This closely matches the sound levels that would have been landing on your eardrums by actually being at the location. Volume levels do vary between headphones so we can't give reference levels for other types of ear phones. Having now tested decent noise cancellation we can say when it works it can be like turning the lights off to watch a film. Clean listening, largely free of extraneous noise. Nothing beats a quiet room with a comfortable couch though, if you have one, and a pair of velvet headphones.

The time has come for hot sun. Hot sun and basking. Hot sun and basking, and listening to crickets. And just sitting, amongst the crickets taking it all in.  This sound scene is of the landscape around Arley station in Shropshire. Under high trees in full leaf. Golden fields as far as the eye can see, glowing in the afternoon sun. Farmland gold. And farmland birds. Bobbing crows. Wood pigeons. And a buzzard. Distant farm machinery working the land.  Distant children playing beyond the station. Distant echoes, that roll across the horizon from a departed steam train that can be heard in episode 187. Down the field there's a man working. Hammer and nails. Knock knock knock. From post to post he goes. Slowly repairing the fence that runs between the hedgerow and the railway line. Knock knock knock. And a rest. And a glance up, at the circling buzzard. No rush. It's hot. There's all the time in the world for this.

It is hard to believe this is North East London at dawn. And yet it is. 5am, last Wednesday. Day break, on the 1st of May. Misted air, barely a breeze. Verdantly breathable air, filtered and cleaned by the dense surrounding woodland. When at 8am the park gates are unlocked, the people will come to walk the winding paths. Bathe in the atmosphere created by the trees. And breathe the restorative, country clean air.  This is what a nature reserve within a city does. It purifies the air, not just for the lungs but for the ears. Layers upon layers of veteran trees soften the city rumble whilst providing a myriad of roosting spots for the songbirds to sing. And as they sing, their mellifluous sounds echo and reflect off all the boughs, branches, and countless leaves, to form an aural brilliance that is wonderful to behold.  But behold the brilliance we rarely do. Rarely can do. 5am is not when most of us are around or want to be around. And perhaps, for the sake of the birds and their own sense of freedom in the trees that are their home, that's not such a bad thing. 5am is, shall we all agree, their time of day. Their chance to be on their own amongst their own kind. Be themselves, and be in the world, in their own particular way. Capturing an hour of this world, as it happened, and on a day when the sky was relatively free of planes and the nearby roads relatively free of traffic and sirens, is what the Lento box was there to do. Here is that hour of time, heard from behind the gates of the newly restored chapel at the heart of Abney Park nature reserve. Our special thanks to Abney Park for allowing us to capture the dawn chorus from the chapel. We recorded this episode exactly three years after our last recording just before the major restoration project started in the chapel. Listen to the dawn chorus from inside the chapel in 2021, in episode 68. And more episodes from around Abney Park here.

In winter gales amongst moorland trees at night. Dark sky. Empty of everything, except for the invisible moving wind.    A moor slopes steep up to the right. And half a mile of grassland slopes gently away down the valley, to the left. At the bottom, is a reservoir, hidden behind more trees. This grassy spot along a high gritstone wall, near an old iron gate, looks from the lane like any overgrown corner of a Peak District field. But it isn't. It isn't just any spot. It is a seat in an amphitheatre of specially arranged wind catching trees.  Of course nobody actually set out to specially arrange these outcrops of trees like this so they'd create such a perfectly balanced and spatially panoramic scene in winter gales. They only catch the wind and turn its energy into deep and richly undulating sound because that's what trees do. But having left the Lento box in this spot to capture this long passage of time, it feels wonderful to have discovered that this exists. Here it is. And the performance? An hour of fresh moorland air.

You're not alone here, in this seaside town. A place of hot pasties, hot cups of tea, and families on a day out. A place of rolling Atlantic waves. This is East Looe on the coast of Cornwall. Thick grey sky. April cold. A sprinkling of rain, But shut your eyes, and it could be summer.  Find a good spot on the sand. You may need to move once or twice. Be guided by your ears. Then chuck your rucksack down, lean against it with your umbrella angled so its just behind, and you'll have the perfect spot for an uninterrupted cinematic sound-view of the crashing waves. In all their crisp textural detail. And spatial glory. Can you hear which way the longshore drift goes? Maybe not yet. It can take a few minutes. While you wait notice how there's an interesting mix of garden birds and sea birds here. A mistle thrush far left, or is it a blackbird? A wren too, far right. Beyond where the little children are playing. The waves feel powerful in this spot on the sand. Powerful, Sometimes thunderous. Coming, and going, in long swaying rhythms. Coming, and going, with wide spacious calm inbetween.

A fresh Cornish spring day last week, along the West Looe River valley. Hear an area of ancient woodland. Described as the lungs of Looe. It's Cornish rainforest. Trees, that go back in time, farther than we can imagine. Walk inland, with the river to your right. Soon it'll be endless oaks, trunks covered with moss, all around you. As far as the eye can see. Ahead, where the muddy footpath goes. And behind, from where you've come. From left high up the steep sided valley. All the way down to touch the clean span of tidal water, that glints peacefully between the line of smaller trees.  From high in the treetops above your head, the calls of rooks echo for half a mile or more. Birds sing crisp, and less harshly in these parts. They have no human noise to compete with. You can hear woodland birds, estuary birds, and sea birds all together here. Against a backdrop of beautiful, deep brown, undulating noise. Oak forest noise.  The subtle harmonious sound that steady sea air makes when it moves over oak does seem to us to have a deep and richly brown sound-feel. It's a sound that's so spatial. So invigorating to the senses. We believe it is one of the most valuable and important sensory ingredients, of what some call a forest bathing experience. We loved every moment of it, and of being within the true precious quiet of Kilminorth Woods.

A birds ear view over Plymouth in the far south west of England. Plymouth in a fast gusting storm. Storm Kathleen. This is how it sounded from behind the huge plate glass window of a comfortable cushioned room on the fourth floor of a hotel the night before last. The hotel overlooks a district called The Hoe, where one of the original Eddystone Lighthouses now stands. We climbed Seaton's Tower just before making this recording. Inside the narrow corkscrew stairways, the rounded structure was rumbling loudly, like being inside a giant organ pipe. A few hours later, the wind was still fierce. Taken with the microphones on a tripod facing out a few inches away from the rain stippled glass (not at all how a sound recording is conventionally made) the air pressure was pressing so hard that whispering gusts were whistling and almost singing through the window seals, left and right. Somehow, though captured entirely from within the hotel room, the soundscape is wide and open. A blended scape, formed both from the interior cushioned acoustic of the hotel room and the wide open windswept city beyond.  Far right of scene, cars can be heard passing along a rain soaked road. Left of scene air whistles through the window seal. The calls of seagulls light up the spacious sky, flying despite the extreme conditions. The building rumbles subsonically. The sound of Plymouth, an exposed coastal city, in Storm Kathleen. It's a sound photograph that without the protection of the window, would not have been possible to make.

Today marks four years of Radio Lento! We launched on 29 March 2020. Since then, a hundred and forty hours of material shared. Hundreds of thousands of ad-free and cost-free downloads. Long-form audio recordings. Of natural and empty places. In high precision spacious sound. Real aural essences of what it is to be present and immersed in a real place.  We've not missed a week since March 2020. Rural and country places. Coastal and tidal places. Edgelands. Brutal landscapes. Sonorous interior spaces. In wind and rain. Under the forces of nature. Broad daylight and the dead of night. We're interested not in any particular thing, but in the sound of every thing. In soundscapes that are most often not experienced. Because they seem empty. Places where nothing seems to be happening. Places filled with the delicate and the subtle. The soft, and the fragile. Aural environments that only through focusing over time, form in the mind's eye of the listener. Four years of producing Lento and we do still struggle to explain to people what Lento is. Is it mindfulness? Well, it could be, but we aren't really thinking of that when we make the recordings. Is it nature? Not specifically. Is it an experimental podcast? We are definitely not experimenting. Perhaps the ordinary, the everyday, the subtle, the long-form, is just too off the beaten track. We add that Lento is slow growing, but that we do get quite a lot of good feedback. They often say why don't you do a marketing plan? We say we can't really make one because the value of the material is in the the listeners heads not ours. They say you could combine it with someone doing guided meditation. We explain that any talking at all would ruin Lento. And they ask how do people know how to listen to it? And we say they just have to work it out for themselves. And they don't say anything. And we stare at each other.  And after a few moments of thought they say your pod sounds amazing. And we ask if they have listened to it? And they say they will. And we explain it's harder than it seems to capture real authentic quiet, properly, because the places we can get to are almost always scattered with human made noise but when we do practice patience, quiet does eventually come, and that really makes each recording. And they seem to be thinking about it, but not know what to say next. And then we talk about something else. And we hope they might try listening, in a quiet place of course, with a pair of headphones or ear pods, so they can hear the captured quiet properly.  In this special edition to mark four years we retrace our steps through six 10 minute segments from these episodes:  17 Dusk in the Forest of Dean 26 Delicate sifting waves at Felixstowe Ferry 139 A passing storm from the attic of an old house128 Persistent rain at night in an urban garden 192 Spring wildlife on the Hoo Peninsula, Kent 136 Ocean breakers near St Abbs on the east coast of Scotland  Listen to each episode in full via our blog. Our grateful thanks to everyone who listens and supports Lento.

In late December 2020 we were given permission to make a long form landscape recording of Abney Park nature reserve in north east London. Abney Park is an area of long established woodland, surrounded by busy streets and major roads carrying traffic in and out of central London. It's an oasis of tranquility used by locals to escape from urban living, that very convincingly does look like deep rural woodland. Muddy paths between tall trees, with the advantage if you take the right routes, to never see the city beyond. To the ear though, the city is usually very much there and present. All around. And from above. Planes heading to London's airports pass almost directly overhead, often separated by only a minute or so. Sirens circling. Helicopters hovering too. Wondering along the muddy paths and admiring the specimen trees can require some considerable zoning out of the aural experience, depending on the action of the day and weather conditions.  What we've found though, by going back through our archive, is this recording. It is one we made on Christmas Day, in between lockdowns and when air travel was substantially reduced. The sounds of the city are of course still present, but greatly softened. The wind can be heard murmurating through the trees. The birds form the primary sound sources. Their crisp songs echo, and reverberate through the empty woodland. It's a unique soundscape, that is unlikely to happen again.  You can of course still witness periods of tranquility within Abney Park. We do every time we go. And there are times in this recording when the presence of human activity approaches that which is normal now. What is we think different, and demonstrated in this piece of captured quiet, is just how long the peace lasts. And just how delicate the wide panoramic sound of the city rumble is, compared to today.  We'd like to think this recording might serve as a benchmark for future city designers. and for everyone to listen to, as an example of what north east London can, and did sound like, with human made noise re-balanced with the natural world.

Nothe Fort in Weymouth, on the Dorset coast. An old sea fort that celebrated its 150th birthday in 2022. For most of these years, it has been able to stand, looking out to the sea around Portland, amidst pristine clear night silence.   Against the velvety quiet, tidal water ebbs and flows, rises and falls, swells and recedes, softly, around semi-submerged rocks. It's water that has a slow motion, sleepy  sound. It's a soundscape that will have been heard by many a night watchman. And perhaps also the odd  soul, curious enough to be awake at this time.  But did the sea sound the same here 150 years ago as it does now? It isn't possible to say. We can't ask the people who knew. The sea, the rocks, the currents do change over long spans of time. So perhaps they did hear something slightly different, back then. Or maybe not. What we can hear in this recording, that we made by leaving the Lento box overnight in a tree beside Nothe Fort, capturing and witnessing the night hours, is from April 2023. We hope to get back to Nothe Fort before too long, to explore the museum again, and make another overnight recording that future generations will be able to listen to, and compare, with how it sounds to them, in 150 years time.

Everything sounds different in the night. Close things sound sharper. More precise. That which is farther away, sounds larger, though it is still farther away. The sound image of the night, is curiously paradoxical. And yet in an evolutionary way, it is the night context where our hearing may have fundamentally developed to fulfill its primary role. Here we're back for a second time, amidst the upland trees that surround this hidden dell, to take in this captured quiet from the night. To really listen to the sense of atmosphere that exists when nobody is about. The rilling water, however subtle and unnoticeable during the day, fills the scene. Amplified by the heightened reflectivity of the leaves above. It's about two o'clock in the morning. Almost all the sheep on the surrounding pastures are silent. Floating, like tiny clouds, just above the pitch dark ground.  From time to time, the sky opens up with the sound of a passing plane. Nocturnal flights that for us make this place edgeland. The effect is to light up the full width of the landscape. Reveal, temporarily the vastness of the land. Its plunging contours. Its luscious fields. Its gritstone walls. Ancient barns. Sleeping farmhouses. All at rest, under an empty, windless sky.  For a daytime listen from this place, go to episode 207.

Here, take a seat on the bank. There's nobody about. Just you and the stream. And the birds of course. Cast your eyes around. Take it all in, before you get comfortable. Steep meadows all about, sloping down into this water meadow. With just you in it and a hazel tree, laden with catkins.   No wonder this water's running so fast. There's been so much rain. In one month, more than anyone can remember. Met Office says its a record. You can tell it's got pace because the surface over the larger boulders has a look like blown glass. It looks sculptural. And sounds sculptural too. Melodic, rather than white noise. With neat crisp, edges, as the outer surface of the water briskly curls and surges over the unevenness of the rocky stream bed. It's truly mesmerising, if you let yourself properly listen.  The woodland birds are singing across this valley in full spring song now. The one that sounds rich like a blackbird, repeating a phrase three or four times over, is a song thrush. Quite a few have made their home here in this secluded valley over the last couple of years. Something about them. Their clear, tuneful song. Their confidence in repetition, that brings an enchanted form of happiness. Happiness to be alive. Alive in this peaceful valley. Listening, to the rilling water as it flows through the water meadow.  * We are continuing to explore this valley in the Derbyshire hills from many different angles and locations. This recording is one segment from a twelve hour overnight capture we made a couple of weeks ago, from a new location. A few hundred yards upstream of the water meadow is an old mill. It's lain empty and as far as we know disused for longer than the thirty years we've been exploring the area. Being able to hear this stream, and the water that only a few minutes earlier had flown past that old deserted mill, somehow feels good. We hope you feel the same. And enjoy the photos too, taken as we collected the kit, in the fresh late morning light.   * Thanks for listening to Radio Lento. We'll be celebrating our 4th birthday in a few week's time. If you'd like to support us, you can do it here.

You can imagine them. The telegraph poles. The long line of them that stand along the Creel Path, on the east coast of Scotland. The thousand year old, empty Creel Path, that provides an ancient way between Coldingham and St Abbs.  Imagine them now it's night. The deserted path. Jutting up into the deep dark sky. Charcoal black. Standing firm against the wind. Holding the mile long cable from Coldingham to St Abbs. Standing. And feeling the cable's weight. Feeling in the wind, its low, moaning vibrations.  The tree, weather stunted and probably overlooked by almost all who stumble by on the rough stone track, holds and shelters the Lento microphones. Keeps them safe, as they listen out across the wild meadow before the sea. Waves, and ruffles its leaves, in the rising gusts of sea air. Waves, and braces, when it gets too strong. Braces, and relaxes again, as the air settles and stills.   When the air is still, the presence of the sea can clearly be heard. Mid-left of scene.  A wild sea, with waves crashing against the rocky cliffs of St Abbs. Seagulls can be heard too. Calling to each other. Their cries light up the spacious night sky. Sheep too, sometimes. And distantly, a marine vessel. Passing as a soft, gentle hum.    * Listen with headphones or ear pods to experience the full binaural width and depth of this often quite subtle sound photograph. Listen through time to gain a fuller picture of the aural landscape. Other Lento recordings captured on the Creel Path are episode 131 and episode 146.

Steep grassy meadows. Grazing sheep. Overgrown hedgerows. Thickets. Narrow stony streams, sometimes with sandy banks. Grit stone walls, with tumbled stones where weather and animals have made a way through. Thistles. Clumps of dense nettles. Patches of tall, well established woodland. A muddy farm beyond. And another behind. And hours, if you want, if you allow yourself, to lean elbows upon damp timbered gates, Put aside what's to do, and focus every part of your conscious mind on taking the landscape in.  Here, in the presence of trees, nestled half way up a Derbyshire moorland by a babbling stream, is a good place to practice  taking in the landscape. Where the non-human and the human worlds blend. It may look and often sound bucolic. but this is not in a strict sense wilderness. It's an edgeland. Farm machinery, A-roads, the flight paths to Manchester's ringway airport, though quite feint, are in range of hearing. But not distractingly so. Far off. Worlds, in a kind of pleasantly acceptable balance. This hour, is daytime. A bright morning in August. Clean. Sharp. In a country sort of way. Looking out onto the steep meadow in front, with sheep grazing, and under these tall well established trees, each fresh eddy of the clean flowing stream, reflects off the broad leaves above. Reflects, as soft shifting shadows do. And creates a sense of intimate, tree shaped, space.

Meteorological spring is approaching. Mornings are getting lighter. Song birds have found their voices and although it's still early in the mating season, they're already decorating the hour around daybreak with mellifluous sound. In a few short months, it will peak. Fast-forward to a June day. Far below the microphones, moorland water flows in a white noise sheen along the bottom of the precipitously steep wooded valley. Up here, tied to the stout trunk of a tree, growing out of the 45 degree slope, everything within the valley is audible. Every bird. From every tree. Singing, out across the empty space. Audible, spatial, and richly resonating. And almost completely free of anything made by people. * In celebration of the beauty song birds give to the soundtrack of our outdoor lives, from now until the end of June, we're sharing this after daybreak segment of an overnight recording we made in June 2021, in a steeply wooded ravine above Todbrook reservoir, on the Cheshire-Derbyshire border. The time was around 5am. We're hoping to travel back to this exact location soon to re-capture this same magical soundscene. Want more? Listen to episode 89 and episode 160 from this same overnight recording.

Slide 1: Its the middle of the night. The Lento box is recording alone, tied to a cold, stark railing, that descends down the seawall into the water. Its an ear-witness to the nocturnal sound of this estuary place. East of Burnham-on-Crouch, facing due south, across the river, to Wallasea Island on the other side. There's a bare wind, and the tide is out. Out, but on the turn. On the turn, and rising.  Slide 2: An hour later. Still the bare wind buffeting. The water's come up fast. Is within fifteen yards of the box. Estuary birds pass at distance. Halyards of nearby yachts tink, as they sway on their moorings. All there. All subtle.  Slide 3: Two hours later. The water's still rising. Up and up the seawall. Now up the steepest stretch. Within a few yards of the box. Waves. Heard at close quarters. Heard bobbling, over the many ridged joins that make up the seawall.  Slide 4: Another hour. And no more rising. This is the high tide. Water within an arms length of the microphone box. The wind has softened. The waves are full of themselves. Full, and falling over each other.  Slide 5: Half an hour more. This high water seems always to have been. But the waves have changed. Changed into wavelets. Now chopping at the boundary of the seawall. Chopping and moving from right to left. To the left is west. It indicates the tide has turned. Mid-stream the water will be bobbly. Bouncy water that water people know means everything is not about to change, but has changed already.  Slide 6: Just ten minutes later and this world is a very different place. Different because beyond all the chopping and bobbling wavelets, is a vast body of water that has, in its entirity, changed direction. It's silently moving not from left to right of scene, but from right back to left.   Slide 7: The water, receding. The high tide, passed. Wavelets, shrunk, to the size of fingertips. Rippling fingertips, playing along the ridged surface of the seawall. And fine, tiny, sharp sounds too. Of vegetation. Popping and drying in this new air. What's opened up again is the wide soundscape of this place. this panoramic tidal place. So vast and empty. Under an ink black sky. With the warm glow of a ship's engine. Docked, far right of scene, at the terminal in Burnham-on-Crouch. Sometimes heard to the keen ear, at this distance only ever fleetingly, are the night patrolling curlews.  * We made this recording several years ago in August. A night when heavy rain and squally weather fronts were moving inland from the North Sea. This audio has waited on a hard drive to have its day. We hope you enjoy listening to these scenes of the changing tide. The scenes are taken from a four hour segment which are presented in sequence, to portray the dramatic changes in the soundscape heard from the same point on the seawall.

Fresh rain. Fresh woodland rain, from Miller's Dale in Derbyshire. From a hedgehog's perspective. Low on the forest floor, amidst the leaf litter, and the tangled ivy. A hidden hedgehog's place where only raindrops that have missed every leaf, twig and branch above, lands.  In total darkness the night before, we'd tied the Lento box to the broad base of a tree to capture the sound-scene of this place. On the very edge of a precipitous ravine. Far below, beyond a procession of trees whose vertical trunks grew up from ground too steep to climb, rilled the River Wye. It shined through the night as a vail of clean, wide white noise, and rose up as an aural mist, from the shallow fast rushing water below.  As the new day began to dawn, the Lento box listened alone. Faithfully capturing the aural experience of the falling rain, a hedgehog roused its prickly self around the foot of the tree. Time passes. Fresh banks of rain come, and go. Distant birds call from the high tree tops. Wood pigeons coo, from their sheltered perches. It's a world of tall leafy trees, and falling water. And flowing water. And steep sided valleys. And plunging green meadows. And craggy, exposed rock formations. * Nearby this wooded location, with lofty views over Miller's Dale, is Ravenstor YHA. A gloriously echoey retreat, whose grand columned entrance also shows the building's austere past. Now it welcomes the gladly fatigued, bearing rucksacks on worn shoulders, with an appetite for a bunk bed slumber, preceded by a hearty self-cooked meal prepared in a friendly communal kitchen. This is where we stayed overnight while both Lento boxes recorded. Hear what the other box captured on episode 184.

Below a stone circle high on Dartmoor called the Nine Maidens, there's a stream. It threads its way down through steep sloping pastures. In the distance, just a fine, silvery, crooked line. It enters an area of dense forest. Becomes enmeshed with the sound signatures of tall, reflective, overhanging trees. Of sparse woodland birds. And disappears over a waterfall, into a deep wooded gorge.    There's a little wooden footbridge, above the waterfall. Here we left the Lento box alone to capture the scene, upstream of the bridge. Upstream of the waterfall. Tied to an interesting tree. Such swift, exquisite water, spatially twinkling, over shallow rounded rocks.  We felt mesmerised by the way the rushing water made us feel, flowing so close, from left to right. The stream produced a gravity, of its own, that made this tiny corner of the world, the three or so yards between the tree and the water's edge, seem like a whole world in itself.  * This is part 2 of the long exposure we took of this scene, back in summer 2022. You can hear part 1 in episode 130. With time and headphones the exquisitely rich mesmerising detail of the spatially flowing water is revealed.

There are spacious places in the world, where outcrops of woodland can be heard singing together in strong winter gales. Upland places. Uninhabited places. Naturally exposed, where the upper reaches of the land meet with the sky.  Singing, to trees, does not involve what we have as vocal chords, or hitting the right note, or picking the right moment to come in. The wind is the conductor. The choir are the trees. The voices are the trunks, branches, twigs, and leaves. Basses. Tenors. Altos. Sopranos.  The physical form of each tree is complex and varied, in thickness, texture, shape, and give. The more slender the form, such as a twig, the more it gives. Each shapes the flow of the wind, in particular ways. Each creates vectors. Lattice patterned chords, invisible, made of nothing but turbulent, vibrating air. Take just one tree. One form, that sings with ten thousand different voices.     In a wide open landscape, where three audibly separate outcrops of trees can be heard all at once,  all catching and turning the wind into sound, a sense of three dimensional space can be heard, and felt. Heard, as vast banks of air move over wide expanses of ground. Felt, as deep dark rumbles. As rich brown surges. As delicate, detailed whisping textures. Rising. Falling. Rising. Blending, from one aural shape, into another.  * We made this recording at the end of December, leaving the Lento box alone and overnight, whilst up in the Peak District. We're really happy the Lento box was able to capture this sound scene so perfectly in the strong winds.

The night we captured this soundscene of Cooden Beach in East Sussex, there was a brisk onshore breeze blowing in from the west. West is to the right of scene, where the incoming waves can sometimes be heard making first landfall. It's February. It's coming up to 11pm. The sky is a deep dark velvet, and the clean sea air, is hovering around 6 degrees centigrade. Nobody is about.  Centre of scene is due south. The open sea. Behind, the whole of England. Just over a mile and a half to the west is Normans Bay. Two miles to the east is Bexhill. It's a coastline defined by shingle. Vast sloping fields of clean rounded stones, stretching from horizon to horizon.  On such an overcast night as this. Moonless. The landscape can no longer be defined by its horizon. To our sense of spatial hearing, and being within thirty yards of the crashing waves, the world is transformed into a wide textured canvas. Heavy greys and shadowed browns across the lower half. Brighter, crisper, scattering  greys, just above the mid-line. Every breaker there, as it makes landfall. And there, as its form collapses into spray. Still there, as it rattles and hauls the loose shingle back with it.  There, and there again, always in different places. From left to right. Endlessly overlapping. Endlessly renewing. Night breakers, on a shingle beach.   * This is the latter half of a one hour recording we captured on Cooden Beach last February. Hear the first section in episode 155. In 2021 we captured the shingle of Normans Bay in episode 63 and the essence of Bexhill in episode 66.

Three o'clock has struck. Up steep ladders, on the top platform of the belfry inside Rye Church, the ancient clock counts through this small night hour. Its regular sound blends with long and undulating gusts of fresh sea air. Air that's travelled, over miles of sand, shingle and marshland, from out on the open sea.  An ever changing pressure of moving air sighs between the shuttered rafters. Rattles the steel flagpole outside on the castellated parapet wall. Resonates down inside the tower to the ringing chamber below, as a soft, dark, velvety rumble. And though without any form, not least arms and hands, somehow lifts and knocks the dead weight of a loose slab of exposed stonework.  When the wind slackens, am amazing thing happens. Not only does the presence of moving air seem to disappear from this aural view, but much of the structure of the belfry too. A kind of transparency comes about, and a panoramic image appears. Of the surrounding landscape beyond. Subtle. More like the presence that a hanging silk curtain creates than any nameable sound. Fabric like, and thin. but definitely there. And you know when you're hearing it because instead of the tower, you feel all that there is around you, are the panoramic murmurings of the land that is Rye and Romney Marsh.   * Our grateful thanks again go to Revd Paul White of St Mary's church at Rye for enabling the Lento boxes to be left to capture the quiet inside.

(Hello if you are new here! We're a different type of podcast. Here's a few tips about how to get the most out of listening to Radio Lento.) Twilight's coming. And a storm. To be half way up a lonely Peak District moor, off the puddled track, looking down, into a mixed plantation of tall murmuring trees. Scots pine and spruce. Tall, hushing conifers. Veteran stunted oak. And ancient holly bushes. Each tree catches the wind. Transposes its undulating energy into different, and distinctive shapes. Sound signatures.  Between the trees, a paddock. And two sheep, grazing on wet winter grass. And their small wooden hut. For when it rains. Partly obscured. Partly filled with hay. Partly forgotten. But not by the robin. Or the song thrush. Or the watchful rooks.  This forest knows a storm is coming. Like the sheep, busy with their grass, but patiently waiting. Like the robin red breast, busy too, defending his territory. Like the song thrush, perched up on a favoured branch.  Though way up the moor, this place is not entirely out of touch. Planes do pass in that weatherless zone, high above the cloudbase. And Land Rovers do too, engines labouring, up steep lanes, distantly. But to the eye, there really is nothing, for miles. Just an open sky. And steep plunging fields. And green sodden ground, that in the summer months will spring into luscious meadow. And over the waterlogged ground, a trail of empty boot prints, that we left behind as we walked away. Away from the holly tree, and the microphone box that we carefully tied and angled, so it could be an ear witness of this forest, in winter gales, before the storm.

(Hello! We're a different type of podcast. Before you listen, here's a few tips about how to get the most out of listening to Radio Lento.) From here, steep up a winding path above the harbour, the ocean waves crash onto the ancient seawalls of St Abbs on the east coast of Scotland, in full spatial detail.  Swirling currents of bouncing swell, softened by less than a hundred yards, into a rich textured white noise emulsion. Clean, simple, washing  waves.  Nocturnal seagulls in dark night air. Come and go. Circle and call. Here here here, I am, says one. There there there, you are, says another. Here here here. There there there there, they cry. Lillting cries. Reflecting across the sky. High above the waves.    Soon, from somewhere out along the jetty, a dark shadow begins to hum. Begins to send warm vibrations out into the empty ocean air. A marine engine, started. Thrumms harmonious, like two organ pipes. A muffled thud here. A muffled thud there. Echoes of those at work, preparing the vessel to sail. Hauling heavy oiled ropes off squat steel capstans. Needing to be coiled. Needing to be stowed. What are we to make of this quiet and empty place? Is it here to be explored, or is it here just to be heard? Heard, just as it is. And just as it was, on that still August night. Under that perfect quiet sky. One boat. One sea. One, fishing harbour at night. Remote, on the east coast of Scotland.

The rain came down, in the early hours of this morning, as I write.  Lovely rain. Light to moderate. Temperature 7. Dew point 4.  Wind EastNorthEast, gusting 8 knots. Enough to drift the ice cold raindrops. And ruffle the leading edge of the wide tarpaulin, that we've stretched over our back yard for shelter. And to make the rain sound better. More detailed. More spatial.   Nobody was there though. To witness. To feel the emptiness of the night, or hear how the rain drops fell. Nobody apart from a couple of distant birds. Night birds, that we've noticed on many nocturnal winter recordings do seem to sing. Dreamily, at this time of year. As the solstice approaches. Now. With headphones on. With time set aside, we can be witnesses to how time passed in this place. Invisible witnesses, physically sitting, here, but mentally conscious of being there. Alive and aware of being present in the captured quiet of somewhere else. an empty and uncluttered place,  where the winter rain fell. * this quiet was captured at 4am on Saturday 9th December 2023, in north east London. We pointed the Lento box out over a long line of little back gardens. It's an area that hums like a city, but that also murmurs, especially at night, under the influence of the ever changing weather, and the wide open sky.

Warm inside an all-weather coat. Facing out across the water. Sat, boots wedged against the top ridge of the slanted seawall. There's rain in the air. Thirty minutes to take in this wild estuary place, you tell yourself.  Right of scene the small Essex town of Burnham-on-Crouch. Directly ahead across the water Wallasea Island. Low lying. A vegetated slip of green land and an RSPB nature reserve. Left of scene wild swirling water stretches seven miles to the North Sea. Sit tight, here on the seawall. This is empty time, to listen to the landscape. Wind from the east flattens the inflowing tide. Presses down the surface into shallow shifting wavelets. Translucent wavelets, that wash briskly along the concrete footings of the seawall. As time passes, and so very slowly, a warm hum slides into view. Harmonious. Reassuring. It's a ship. A ship approaching. Gradually, it draws level. Gradually, it crosses your line of view. Then, with clear water ahead it increases power. On a heading out to sea.  This landscape is sparse. Beautiful. Bleak. Ektachrome bleak.  * This is the very last segment of an amazing overnight recording the Lento box captured several years ago from the seawall just east of Burnham-on-Crouch. When we came back to collect the box it was waterlogged and we feared the whole recording was lost. Somehow it survived which makes all the episodes captured from this incredibly exposed location extra special. Listen to all the other segments in episodes 86, 90, 96, 111 and 126 - all listed in our post on episodes from Dengie.

Dent station lies on the historic Settle to Carlisle railway between Blea Moor Tunnel and Rise Hill Tunnel. It's the highest operational railway station on the National Rail network in England. The highest and we feel the best because it is so extremely wide open. So extremely exposed. Set in the North Yorkshire Dales National Park, Dent station serves at 1,150 feet above sea level, in stalwart public service.  Up here is real wilderness. Rugged upland wilderness. A place that's persistently buffeted by fresh, cuffing wind. Air, that like the trains, travel free and at speed over marathon spans of mostly uninhabited land. But there is a tree, by the old wooden gate that leads onto the station platform.  The tree has grown squat. Leans from the prevailing wind. Has countless myriad leaves. Waxy well weathered leaves, that the Lento mics tied to its gnarled trunk captured rustling, and jostling, in the brisk undulating breeze. And beyond these spacious rustlings, grazing sheep can sometimes be heard. And high circling buzzards. And other little birds too, through time.  You can if you want choose to stand beside this tree, whilst waiting for your train. Don't worry the platform is only just there. And beside the tree you can so witness what to an urban dweller is rare. A tranquil environment woven not from silence but from affirmative sound, that inside our minds spells peace. Mental peace. A wild landscape that flows in through your ears. How everything sways. Sways this way and that. Never against. Only with you. And the ever undulating wind. * We left the Lento mics alone on the tree outside the station gate last August. It was a cool and brisk summer day. The next train back to Settle was in an hour so we walked up the fell to see what we could find. We found a remote fir forest, which sounded so good we had to go back the next day to record it. You can go to this fir forest in episode 183.

The atmosphere inside a bird hide is quite unusual, as interior spaces go. Low wind moaning in the drooping wires between telegraph poles. Whispering rushes and siffing seed heads of marsh grasses. Indistinguishable shifting murmurings, of the surrounding landscape, blown in through low letterbox windows. To the ear there is a lot of outside to be heard inside a bird hide. A fleeting curlew. A humming propeller plane. A distant pair of passing footsteps on the gravel towpath.  But there are other sounds from inside to feel too. Interior sounds. Flurried sounds, made by internal things under external forces. Rattling shutters. Knocking slats. Timber panels grumbling. All set moving by wayward gusts of estuary air. And inbetween. When outside has less to say. Perfect, hidden, tranquility.  As you sit quietly, on the wooden bench. And peer out through the narrow viewing slots to see what you can see, face brushed by fresh gusts of air, maybe just for a moment you realise what a bird hide is. A building trying not to be a building. A place trying not to be a place. A shelter that wants to hide you, but not be in your way. Spoil your view. Of the low tide water. The wide exposed mud flats. The silent birds, picking light footedly over the mud.

It's always strange when we leave the Lento box behind to record overnight. The feeling is strong, but also hard to pin down. The Lento box feels like a trusted friend, even a family member now. It has taken us years to build and refine, and lives on the shelf in our kitchen when its not out on a job which makes it more than just an object. It's travelled far and wide with us too, and made almost every episode published on Radio Lento. Will the box be there when we come back, is of course the one thought we've had to learn not to worry about, because otherwise Radio Lento and all the places that have been captured in panoramic binaural sound would not exist.  As we walk away from the box, tied to a remote tree or sturdy post, we always stop, turn around and check for one last time whether things are right. Will it be safe where it is? Have we located and angled it to capture the best panoramic "sound photograph" as possible even though we can't know what is going to happen. Is the spot really the best we can find? These thoughts are often whispered, because being out in remote locations at night never does feel comfortable. The night we set up the Lento box in Weymouth to capture this episode ran very much the same as every other night record. The tree we found in a quiet secluded shoreline spot felt mysterious in the inky dark under a full moon. Like it somehow knew we were there. The sea, only yards away, also lapped knowingly against the jumbled rocks, and the air seemed unusually still. So still in fact we could hear even the tiniest details of the shifting waves. Climbing the tree so the panoramic width and sharp detail of the sound-view could best be captured wasn't as risky as it might seem in total darkness, but positioning the box on a tree that felt like it was aware of us did somewhat heighten our own sense of self. Of course we needn't have worried about any of this.  After we left, the tree and the sea, weren't worried. They accepted the Lento box for what it was. A non-human aural witness. And so were content to carry on as they always have. For all of time. A tree just being a tree. The ocean waves just being ocean waves. Lapping with patience and grace, against the rocky shore. Such slow waves, alone, in the night quiet.

The experience of being out in the wide open on Higham Marshes in Kent on a warm May afternoon is nothing short of glorious. It's a perfect location for the Lento mics too. Earlier this year we walked through the nature reserve en-route to the old fort on the Thames and left the Lento box to capture the sound scene of the Higham Marshes nature reserve from a little hawthorn tree in full scented blossom. We shared part of this sound-view in episode 169. Here's the other part of that same recording, kept back until now, for a time we really need to travel back. The Hoo Peninsula is today an edgeland and a place of environmental dichotomies. A vast area, where giant operating container ports rumble on the same horizon as silent half buried war relics of the past. Where fields of managed land abuts wild margins of natural unmanaged land. It's a world navigated via long winding and sometimes contradictory footpaths. Paths that one minute are rubbish strewn smelly boot thieving bogs exposed to the aural effluent of distant industry, and the next, grassy and dry under foot, tranquil, shielded from all human noise. Wandering ways, lined with verdant vegetation. Filled with exotic sounding birds.   For some reason the body seems to adapt to this dichotomous terrain before the mind does. Though the contrasts are not as stark as they may seem when written down. In fact it's these edgeland contradictions that really make the Hoo Peninsula, particularly the area between the old fort and Higham Marshes, so sensorially fascinating. Of course eventually the mind does catch up with the body. And the feelings are good. Of sensory bathing. Bathing in meadow scents. In exotic bird calls. In happily humming insects foraging from plant to plant. In the timeless sound of baaing sheep and grazing cattle tearing up fresh meadow grass beside lapwings, cetti's warblers, skylarks, geese, ducks and red shank. The sheer density and diversity of creatures audible from this little tree hidden on the marsh, is really something to behold. And the way they exist between the human made anthropogenic noise, is something to behold too.

An hour of pure falling water in a natural wide open landscape. Captured in the early hours of yesterday morning in the hills of Derbyshire. A place off the beaten track. Up in the hills. Rugged. Reached by a steep up climb holding for balance on arm-thick sapling trunks, whilst stepping between winding deer tracks.  An old holly tree stands amongst many other trees, facing the waterfall. We hang the Lento mics off one of its outstretched limbs. Angle them out so they can hear across and beyond the waterfall. A profusion of hard ferns growing up from the rocky pool softens the intensity. Down stream hart's-tongue ferns line the banks, and rustyback ferns cover time-toppled dry stone walls. This unmanaged upland environment is filled with vegetation and clean refreshing sound.  When embarking on a long listen like this, the sound view may at first seem, well, just white noise. Pure white water noise. Not much else. But time does something. The auditory brain gradually tunes in. To tune in, headphones are needed as they are designed specifically to project binaural sound directly onto the left and right eardrums (with no room-gap). The left and right inner ear then carries the soundwaves layered with complex spatial cues (here the waterfall and surrounding environment) into the auditory brain where a mental picture is formed. These soundwaves, having been authentically captured using ear-like microphones at a real location, can trigger a similar aural and perhaps even physical response to the experience of actually being there yourself. It's why we say "surround yourself with somewhere else".  This sound-view is of the waterfall, to the left. Partly hidden behind trees and beds of hard ferns. The stream flows in front of you left to right down the moor, to the valley that opens out to the far right. Ahead and below the holly tree holding the mics is the drop pool where water faintly gloops and gurgles. And sometimes very tiny clicks can be heard from left and from right. Probably the branches of the trees 'resting' down as they do in the cool night hours. This process where the boughs of a tree rest down by around fifteen degrees makes subtle noises, and is when dead wood most often drops down into the leaf litter. The auditory brain is our constant 360 degree survival sense that's evolved over a million years giving us a powerful non-light dependent way to alternatively 'see' the world around us. Spatial hearing has evolved in tandem with sight and our brains construct our perceived reality from both senses together when out in the natural world. Even though modern ways of thinking are heavily anchored to sight, by investing just a little quality time in natural binaural listening you can tell it taps into something subliminal and evolutionary. A calm threat-free natural environment like this one beside a remote waterfall, just does feel good. There's no need to wait for scientists to tell us why.

We're hugely grateful to Revd Paul White of St Mary's church at Rye for enabling this special recording to be made. An aural presence of St Mary's church. Captured through the night of the 3rd of October. This passage of time is as it happened, from midnight to 1am. Experience being in the nave, then perched high in the belfry looking down from the top ledge upon the bells, including the 'quarter boys' that strike the quarters. There's a wonderful old timber beam to rest against, so don't worry about the drop. This sound-scene of St Mary's unfurls over an hour and between two slow alternating perspectives, each lasting about six minutes. It starts in the nave where the congregation gather for services and prayer. Then glides up to the belfry.  Due to the extreme intensity of sound in the belfry (the sound of the main bell carries for miles) the sound scene during striking is from the perspective of the nave. On the very last strike, the perspective blends back up into the belfry, letting you witness the singing of the main bell as it fades away. (Note The clapper can be heard knocking slightly against the bell, as it settles back to rest after striking one.) The church's clock marks each second passing with a crisp resonant clunk, as it has done for many centuries. Indeed it is one of the oldest church turret clocks in working order, first installed in 1561-2. The pendulum visible above the nave was added later. (Read more about St Mary's fascinating history.)  The belfry is at the top of the church tower, and is a narrow space very much exposed to the elements. The clock's mechanism can be clearly heard from up here, together with the pressure of moving air as it presses through old rafters, and rocks heavy roof panels. To the right the flagpole outside vibrates against its sturdy mooring. The melodious strike of the quarter boys is close and clearly defined from up here inside the belfry. In contrast the nave is a large spacious and sonically reflective space. High ceilings and wide stone floors. It's where the congregation gather for service. From here the main body of the church can be heard, shouldering the weather in soft, hushing reverberances. A peaceful place, for people, time and prayer.  Please note that this is NOT a sleep safe episode due to the bell chimes and clock mechanism. It is a rare chance to hear such an ancient space at night with the sound of the clock inside and the wind raging outside.

There, thought the old drystone wall. I knew it. A tawny owl. Flying silent, up top the field. It'll only be a shadow, if ever you do get to see it.  Better get to where you're going my feathered friend. The rain's coming. Not long, I'd give it, what, five minutes before the first shower.  A flurry. That's all. At least to start with. Night minutes mind.  No! Night minutes aren't slower if that's what you're thinking. Nothing like that. No they're just, different. They don't run in a day-straight line. Night minutes spiral. Like the way currents on a slack stretch of river move. You know, in slow drifting circles. Sends your mind round in circles too if you let them. They pass alright despite them going round in circles. Not sure how that works, it just does. All you have to do, to go along with them, is concentrate. Not concentrate on counting them. You do it by listening. All around wide about listening. Listening, without expecting or waiting for anything particular to happen. Do it by keeping your mind free of expectations and instead let whatever the world has for you, come to you, just when it does.  Now call me an old drystone wall, which is what I am, but even I know half the problem these days is that when you set your mind on something you want to happen, you miss the simple pleasures the world has for you while you're waiting. No, it's not patience I'm meaning here. Why be patient. I'm not and I've stood sturdy here for centuries. It's diligence. An active process, of careful, and persistent listening to what is there. In the place you want to be. * This sound view was recorded from the top of a drystone wall overlooking fields of nocturnal sheep, in the North Yorkshire market town of Settle last August. Rain comes and goes. It's a very ordinary field in many ways, and not far from a very ordinary sounding B road with some occasional night traffic on it. Combined with the odd soft arching plane, the sound view exudes a pleasantly harmonius aural fabric that is soporific and sleep safe.

Near a limpet covered wall, beaten into shape by high tide waves and squally weather, are some rocks submerged in shingle. Rye Harbour shingle. Sun warmed, they've got just enough flat on top, for two to sit. And enough yards from the water too. For you not to get wet. And yet, from time to time, you do. But only a speck, thrown by an exuberant wave. Advancing waves keep rolling in. Splashing and breaking, as much onto each other as they do onto the smart grey contoured shingle. Splashing and breaking waves whose sound is as bright as the light of the midday sun. From your smooth rock seat, you can hear the tide's not far now, from the turn.  A tiny bead's landed upon the back of your knee-rested hand. One speck of cool ocean. You dab it away. Its translucent shadow feels like a winter penny in the brisk sea breeze.  * We made this recording a few days ago on a warm October day at Rye Harbour beach in East Sussex. The sun was crisp and strong, as was the onshore breeze. One of the most wonderful feelings is scrunching over the different bands of shingle, as you head down to the shore, because of how the sound changes.  ** Thank you to everyone who supports us on Ko-fi.

You strode up to this field, through lush meadow, for a better view over Arley station. And now you're here. It's a perfect Shropshire August day. Blue sky. Light breezes. Hot sun on your back. Nearly time you think looking up into the sky, far right, for any sign of smoke.  The whole station's in view from up here. Here beneath the tall whispering trees, and basking grass crickets. There's the empty waiting tracks, lined by high overgrown hedgerows. And a man down there. Hammer. Nails. Fence beside the gravelled track, being sporadically mended. Such a country scene. With such balmy country sounds. Benevolent. Timeless. There, watched by the circling buzzard. Chased away by rooks.  And when it first came from over the horizon, it announced its imminent arrival with a blast on the whistle. Mile wide, its sound waves travelled. Through the cutting it then proceeded. To emerge like a resplendent surprise from under the old stone bridge. A heavily rolling, clanking, iron mass of hissing pressure, that gently squealed to a halt in the waiting station.  As it waited for its passengers to board, it pressed against its wood block brakes, radiating heat. And a slowly building, smouldering hiss. And the whole valley seemed to brace itself for what it knew was about to come. The bridge and the sloping fields. The trees. The road. The buildings and even the sky. All braced themselves, to be turned inside out. Turned into a steam train dream.  A steam locomotive, to give it it's proper title, does not so much depart a station, as leave it in its wake. Its iron furnace contains such pressure, that when its valves expose its pistons to pump the girders that turn the giant wheels, it's not just the air that's kneaded like a dough, but the whole world around it. It's a palpable sense of power that so surpasses anything you can have imagined, that all you can do is grin. Whilst fixed to the spot. In enchanted admiration.  * We took this sound photograph of a steam train passing through Arley station last month. We recorded in high definition sound. After the train left, we left the box recording alone, to take in the soft rural wind in the trees, the crickets in the grass, the man mending the trackside fence, and all the other sounds of ordinary everyday life going on in this Shropshire valley.

What happens, inside slow forest, is not much. Just the odd snap and crack, of a dry twig dropping, every now and then.  I know sometimes there is a rook. And I know a raven too, if you've managed not to fall asleep. And echoes. Of passing people on the trail. And of seagulls and roosting wood pigeons too. Every now and then.   No, not much happens, in slow forest. Apart from the wind in the trees. And the buzzing insects. And the distant farm. And the plaintive cries of what we might imagine is a lonely juvenile bird.  But slow forest, is the place to go, if you want to hear a forest just being a forest. It's so huge. And so empty (not counting the trees) that most of what you hear is just, forest. Trees being trees. Leaves being leaves, in the changing wind. And the changing wind, just being a changing wind.  * We captured this hour of forest time by leaving the Lento mics alone on an old tree last month deep in the Wyre Forest in Worcestershire. Two planes doing a loop-the-loop can be heard steeply descending around the middle section of the recording, and the echoing whistles of a passing steam train as it travels along the Severn Valley Railway can be heard towards the end.

This onshore breeze. A pleasant one, will not cuff too much against your ears. It'll flutter. Like a dark brown feather quivers, on a current of moving air. It'll be steady too. As a pleasant onshore breeze is. As the horizon is, from whence it came. Rising, at its centre. And falling away, almost imperceptibly either side of its farthest edges. A constant. And a consistent presence that lets your skin know just how endless the space is. Out there.   A strange thing though. Worth noting. Worth remembering, for next time. How an onshore breeze is unchanging. While it comes from out there, from the wide open endless sea, and while it lands upon the shore just as the incoming waves do, it does no advancing or receding, like the waves do. No hauling back of the shingle. No pulling away making you feel your love is about to be lost only, seconds later, to be found again. No. Because with the onshore breeze, you always know where you are. It's constant. Cool yet convivial. Makes the time spent on the beach feel real. Right. Restorative.  * We took this 30 minute sound photograph on Chesil Beach by Portland last April. Its the second take of the beach from a different location to episode 163 but taken shortly afterwards on the same day. Placing the Lento sound camera pointing directly out to sea, about fifteen yards from the breaking waves, the scene captures not only the steady on-shore breeze, but the deep visceral and spatial sound of the receding waves as they haul back huge quantities of the smooth, very heavy kind of shingle, that this section of Chesil Beach is made of.

Miller's Dale. Steep sided. A valley in the Derbyshire Dales with magnificent contours. High rocky outcrops. Sheer faced cliffs. Green fields plunging down to a quiet, winding river.   It's a place where geologists go, to see the evidence of lava flows from millions of years ago. Where historians go, to marvel at Victorian viaducts and tunnels cut by hand in the 1800s. And where weekend people go to trek or cycle through open country along the disused railway lines that used to carry the trains between Manchester and London. Miller's Dale feels cut off from the world. Alive in the moment, but somehow separated. As you wonder its winding and overgrown footpaths, you sense the valley is a place not only of restorative solitude, but a place where you are free to imagine yourself conscious in another time. Another era. Hearing the echoes of a rumbling steam train, chuffing northwards with Victorian haste. The meek baas of sheep, grazing on wet Iron Age pastures. Or the tide of the bygone sea, that the composition of the rocks shows this landscape almost unimaginably used to be. Now the sound of water flowing is from the river. the River Wye. How steadily it runs, along the valley bottom. Open country water, that along the shallow stretches rills, pleasantly, over tumbled stones. Cool. Refreshing. Consistent. Rilling in watery melodies, if you let yourself listen for long enough. * We left the Lento mics alone, hanging from a steeply leaning tree, to capture the spatial sound of the River Wye flowing through the night. Some planes are audible in the sky, possibly more than usual for 2am, due to a major air traffic control breakdown the night before.

High, in the remoteness of the Cumbrian hills above Dentdale, with buzzards circling overhead, we found a fir forest. Tall, elegant trees, reaching up to the sky. All leaning, slightly, against a mild August breeze. The mild, long distance, cross country breeze.   The hill was steep, so we stopped to take in the view behind. It was then we heard the forest. Its dense trees loomed above us. Only twenty yards away. Giant sails, in moving air. Tall. Dense. Each tree hushing not in white noise, but in noise of other shades Light browns. Dark browns. Dry stone greys. Twilight greens. Dark purples. Each undulating. And dissolving into the other.  Nearby, we found a path. It led into the forest. Led into its quiet heart. Surrounded by hushing trees, we listened. Stock still. In total silence. A remote fir forest. High, in the Cumbrian hills.  * We left the Lento mics alone to capture the undulating sound within the heart of this forest. At 29 mins a freight train can be very distantly heard as it rolls through Dent railway station farther down the moor. Or the fell, as the locals say. From ten mins in a buzzard can be heard circling directly overhead. Dentdale is at the western end of the Yorkshire Dales National Park.

For this last August intermission episode we've made you a montage of *sleep safe* sound-scenes selected from four overnight recordings. From the sea wall at Burnham-on-Crouch, looking out over panoramic tidal estuary waters by Wallasea Island. An oak tree deep within the Forest of Dean where woodcock make their roding flights. A remote fishing village harbour under empty skies in South East Scotland. To a rural wood in Suffolk where we made our first ever overnight recording. Here are some short descriptions plus links to the episodes so you can hear them in full. 126 The seawall and the night patrolling curlewsTo be a remote seawall, on a stretch of tidal estuary. To see the days and nights not as periods of time, but as slowly undulating waves. To feel the weight of water, twice rising, twice falling. To hear, the lone patrolling curlews. This is Burnham-on-Crouch around 4am, looking out across the tidal waters towards Wallasea Island  129 Pristine quiet to early dawn A clearing, deep within an expansive forest, where the night air carries so little sound that only the trickling stream can be heard. The stream's sound reflects narrowly off the trunk of the tree, like the flickering light of a campfire. But when a woodcock flies by, on its roding flight, the sense of space is temporarily revealed. This segment of overnight recording we made in the Forest of Dean. It begins at around 4am when the space around the oak tree holding the microphones is still pitch dark. 140 Fishing village harbour at night Real quiet from the middle of the night, captured from a point above the harbour of St Abbs on the East Coast of Scotland. Car-free. Plane-free. Just the sparse and spacious cries of circling gulls over harbour waves, and the faintest hum of a fishing vessel anchored somewhere out at sea. This remote, thousand-year-old fishing village is to us a place defined by its quiet horizons and empty, plane-less skies.  74 Night shallowing in a Suffolk WoodIt's 3am in our first ever twelve hour overnight sound landscape recording. A Wood in Dedham Vale, Suffolk. Balmy August night. the Lento mics left alone to capture the sound landscape from deep within the uninhabited woodland. they revealed dark bush crickets, chirruping the passing of time. Wind moving softly over the tree tops. the distant bell of St Mary's church, floating through the space beneath the trees, striking three. Nocturnal animals treading lightly over dry leaves. This 2017 recording opened up a whole new world to us, and inspired us to make more recordings and share them through Radio Lento.

For this penultimate intermission episode, we've made you a montage of sound-scenes selected from four enchanting woodland episodes. A forest ravine high in the Derbyshire hills. Under a tree above the town of Wooler, in Northumberland. A waterfall gorge on Dartmoor. And finally, the mysterious murmurings from deep within the Forest of Dean.  Here are the descriptions and full episode links  so you can enjoy them in full. 160 Forest ravineThis precipitous place, high in the Derbyshire hills, flows with birdsong and fresh moorland water. It's aural presence is made almost entirely of natural things. Non-human, natural phenomena. Having this piece of time uninterrupted , and from this elevation, you can watch the geese through the trees as they fly through the ravine's luscious and airy reverberations.  141 Soft land murmuring - Wooler, NorthumberlandAn exposed tree, looking down upon the town of Wooler, high in the Northumberland hills. It stands amidst wide open fields, by an empty bench and an overgrown footpath. The soundview of this wide panoramic landscape changes with the wind. Tawny treetop owls. Sheep. Cawing rooks. Flocks of chattering jackdaws. Wood pigeons, cooing comfortably from their lofty roosts. Then as the wind gathers strength, the soundview shifts to the interior space within the tree holding the microphones.  162 Waterfall gorge on Dartmoor you've made it up, to the Dartmoor gorge. Thick untouched forest, and a rushing torrent, cascading down a rocky, precipitous gorge. Getting here, up and up, along a rocky path through endless trees, feels like a pilgrimage. A pilgrimage to a rarified place, that's lit through day and through night, by brilliant, refreshing, acoustic sunshine. (Since we took this sound photograph we've learned that regions of Woodland on Dartmoor have been designated as temperate rain forest.) 122 Forest bathing in the cathedral of treesA passage of early evening time, captured by the Lento mics recording alone, from deep in the Forest of Dean. They hear wide spatial echoes. Woodland birds singing free of interference. Rich, layered murmurings. And air, moving gently through the high tree tops, of this ancient forest. We think of our sound recordings as sound photographs. Spatial sound scenes taken from one fixed position, over time. Our goal is to share the aural view of a place, in a spatial high detail way that lets you experience the true authentic feel of what it is really like to be there.  An aural reality of being somewhere else.

We're taking an intermission during August. Rather than disappearing, we're made you a montage of sound-feels selected from previous episodes. This week's theme is coastal. Listen to four lovely clips of coastal scapes we've captured. Take a tour from Tenby in South Wales, Coldingham Sands in South East Scotland, and Nothe Fort on the Jurassic coast of England. Here are the descriptions and full episode links  so you can enjoy them in full. 174 Where cool woodland meets the summer sea At the far end of the long sandy beach at Tenby there's an area of cool, shady woodland. From the distance and under hot summer sunshine, it looks idyllic. Inviting. Under the trees the hot sunshine air is cooler. Laden with sweet musty smells and sappy perfumes. The birds are singing. Their sound reflecting between the trees. Melding with the washing waves. This place is like a temperate greenhouse. A naturally reverberant space. Perfect, to set down, forget about doing anything, and just listen for a while.  178 Waves of the intertidal zone It's late and you're out. in solitude, For an evening walk, on a wide open beach. Tenby beach in South Wales. Here, is white noise solitude. You scrunch over flat corrugated sand towards the shallowing waves. Then wade in. Immersed. Ankle deep and paddling. White noise is everywhere. Waves, are everywhere. Racing. Washing over each other. Left to right. Right to left. Face on. And under. Rushing away, behind you. Tiny bubbles. Sparkling. Shallowing. And dissolving, into fizz.  150 Looking down on Coldingham Sands A bench. Perfectly perched, by the sandy steps that lead steeply down onto Coldingham Sands. Perfectly perched with a sound-view so wide, and angle just right, to hear the incoming waves as they break over outcrops of craggy, elephant-sized rocks. It's a bright August day, and the sun is mistily lighting up the sea, the rocky cliffs, and the plunging, richly vegetated slopes. This place, on the East Coast of Scotland, is special. It's a landscape under a genuinely quiet sky. A sky free of human-made noise, where the detail and quality of natural sound can reach the ear drums intact.  176 Early morning below Nothe FortA smooth, sunrise sea, heard from a tree, growing up out of a bundle of boulders close to the water's edge. It's early April, and just after daybreak. The Lento kit is in the tree, capturing the wide spatial quiet of this place with nobody about, right beside Nothe Fort in Weymouth on the south coast of England. Ahead, looking south, the sea. West is Portland. East is Weymouth, then Durdle Door, near to Lulworth Cove. In this little settled spot, and from far left of scene, the sea seems to be breathing, softly, as it sweeps the shingle at the foot of the fort's huge parapet wall. Perhaps it's still asleep. Has it not heard the blackbird? Has it not heard the wren? Or the garden warbler? Maybe it hears them, from within a dream. 

We're taking an intermission during August. Rather than disappearing, we're sharing a different type of episode, each with a theme, using some of the best bits from previous episodes. This week's theme is rain.  Here are four glorious rain scapes. Travel with the rain as it falls, on a wide open coastal landscape, a walled garden in London, and on high moorland woods in Derbyshire. Here are the descriptions and episode links  so you can listen to them in full.  146 Fresh air along the Creel PathThe Creel Path has been trodden by fisherman on their way to work from Coldingham to the harbour at St Abbs in Scotland, for a thousand years. It's a landscape whose geography leaves it exposed to everything that the sky can bring. By locating our mics within the natural shelter of a tree, and letting them record alone for twelve hours, we were able to capture the full width, depth and range of this place and its unique soundscape.  128 Persistent rainHeavily, this winter rain falls. Persistent. Cold. Wet. Refreshing. In waves. In sprinkling flurries. Over time. Onto the huge tarpaulin stretched across the yard. Each drop's long downward journey is both completed, and revealed, in one tiny moment. Is this just plain old rain? Listen in, especially through a pair of headphones, and layer upon layer of spatially detailed rich textured sound will to you become revealed.  167 An hour under moorland trees There is nothing and no one about.  You. Here. Hidden. Up in the Derbyshire hills. Sat, on dry leaf litter, lent against a gently slanted tree trunk. Listening. Just an hour. Under moorland trees. An hour to listen, to the weather, the flurries of rain And the steady ever-changing wind.  156 Sheltered under night rain The city sleeps, under a dark impenetrable sky. In one garden, sheltered under a wide tarpaulin, microphones are recording. Alone. On top of a tripod, and standing, as high as a person. Listening. The tarpaulin, is to them a canvas. It lets them see the rain. In all its spatial detail. A transcriber. A taught thin surface, that catches each raindrop, and changes its collided imprint into crisp edged, spatial  sound.

A shadow grey rock, the size of a stranded ship. Radiating heat, remembered from the midday sun. Around it, rock pools, and smooth curving shapes. Like sleeping seals. You're out. Alone. For a late evening walk. Overhead, and behind, the sky is a deep, deepening blue. An end-of-day blue. But to your right, on the low west horizon, it's still blazing bright.  This place, this wide open beach, is white noise solitude. All around, empty space. Empty space and sea air breezes. Sea air breezes, and some people. Happy cries, and beach ball thumps.  You walk. Scrunch sand between your toes. You swing your legs towards the sea. Head towards the intertidal zone. Stepping on hard ruttled sand. Over furrows of stranded water. For as far as the eye can see. Corrugated land. Low tide land. Shaped into longitudinal lines by the withdrawing waves.  Right ahead, bright white noise. And gulls. Just landed on the wetted sand. Rapidly stamping their little webbed feet, to bring up the morsels. A rush. Of cold fizzing sparkling rippling water. Breaks suddenly over your feet. Breaks, and splashes up your ankles. Stops you in your tracks. Swirls and foams and flattens and shallows, all around you. Fills the air with watery sound. Like shimmering blue, shoreline silk.  Now you're in, and immersed. Ankle deep and paddling. White noise is everywhere. Waves, are everywhere. Racing. Washing over each other. Left to right. Right to left. Face on. And under. Rushing away, behind you. Tiny bubbles. Sparkling. Shallowing. And dissolving, into fizz. Each one, each wave, adding one more corrugation, on the wide intertidal sand.  * This sound photograph of Tenby beach is first try of something new for Lento. We recorded it dynamically, as we walked, in one unbroken 30 minute take. Angling and panning the Lento kit, holding still on wide panoramic views, then panning down almost to touch the water for close-up views of the sparkling bubbles, then gently sliding sideways to chase waves as they race to the shore, as with a film camera. We wanted it to be a kind of sound film. If you can't make it to the beach this month we hope you can enjoy this intertidal sound walk, until you can.

You find yourself, suddenly out. On the other side of the wood. The edge, of a wide open empty field. A meadow. Tall elegant trees, given way to a high, bright sky.  Standing silently. You can feel the heart of the forest behind you. Hear its echoes. Its leaves near and far, rustling. How one tree creaks. How banks of soft summer air move spatially across the treetops. How trains, passing distantly through the forest, make sound like silver wind.  In front, is open grassland. Fragrant. Home to large populations of butterflies. And that sings, with the sound of stridulating crickets. Hundreds. Thousands. All cricketing, under this warm noon day sun.  This meadow. These slowly swaying trees. This breeze, in the leaves and grasses. This feeling, of being so near to the cool green heart of this forest. And up, at the sky. And up, at the sun. And the shifting clouds. And the planes, flying from time to time. Flying, from cloud to cloud. * We travelled into Hertfordshire (by train and on foot of course) to take this sound photograph from as near as possible to the Clinton Baker Pinetum one lunchtime last week. It's a fascinating place, rich for forest bathing, first planted in 1767. We want to take some more sound photographs that capture the range of tree species inside the pinetum if and when we can get permission.

The sound-scene is of a smooth, sunrise sea, heard from a tree, growing up out of a bundle of boulders, close to the water's edge. It's early April, and just after daybreak. The Lento kit is in the tree, capturing the wide spatial quiet of this place with nobody about, right beside Nothe Fort in Weymouth on the south coast of England. Ahead, looking south, the sea. West is Portland. East is Weymouth, then Durdle Door, near to Lulworth Cove.  Here, in this little settled spot, and from far left of scene, the sea seems to be breathing, softly, as it sweeps the shingle at the foot of the fort's huge parapet wall. Perhaps it's still asleep. Has it not heard the blackbird? Has it not heard the wren? Or the garden warbler? Maybe. In a dream.   From right of scene, where the swell's near and breaking over the boulders, the sea's very much awake. Awake, and moving. Rising, falling. Gently washing the sunlit sharp rocks, in slow, circling motions. High above, in wide circles, are the seagulls. Calling brightly to each other in the first light air. And some stray crows. And ducks. And something else. Something deep. Something that hums. It is, almost musical. Not animal. Or geomorphological. Too powerful, too omnipotent, for that. It's the kind of sound that isn't in the air. But is the air. A ship. And its low humming engine. Moving. Very gradually. Across the horizon. Like a far drifting cloud.

The cabin, is compact, in every way. Every inch, accounted for. Every component, slotted in, perfectly. And, with full rucksack and boots and spare boots and string bag, a bit of a squash to get in too. Once you're in though, once you've sorted, and stowed, and made things neat, any claustrophobic feelings will just, well, have magically evaporated. In some curious way, these cabins can somehow, surreptitiously, expand.  As the train pulls out of Penzance station, you begin to hear the rumble. A sturdy, rounded edges sort of rumble, a cacophony, of gently juddering low frequency vibrations, that'll sway about beneath you and your bunk as the miles pass, and gradually become your friend. The sound is, dark, and velvety, and when combined with the physical sensation of being horizontal on a cotton soft pillow, deliciously soporific.  And there are the other swaying sounds. The tiny creaky movements of all the cabin's fittings. The muffled clunks and clicks, as someone sleepily feels for the night light switch. And The carriage's squeaky suspension,  that in your dreams can be a swinging sign, outside some windswept Out West saloon. Howdy friend, welcome to the Old Railroad. Care to come in? But best of all, to us, perhaps to all who slumber their nocturnal way cross country aboard the Night Riviera, is the ever-present, ever fluctuating, omnipotent hum of the locomotive. The giant sized engine, the dynamo, the journey's conductor, that valiantly leads the way into the night, and makes the whole thing happen. And keeps it happening, warmly, and reassuringly, over hundreds and hundreds of dark, dark miles. * This spatial sound photograph, an unbroken sixty minute segment of the journey from Penzance to London Paddington, was taken from within the cabin beside the bunk. It will to those trigger deep and we hope blissful memories of travelling through the night on a sleeper train. If you haven't done this yet, we hope this recording conveys at least some of the unique and soporific sound experience of a night train sleeper.

At the far end of the long sandy beach at Tenby there's an area of cool, shady woodland. From the distance and under hot summer sunshine, it looks idyllic. Inviting. A shady promontory on the horizon that curves and blurs down into the sea.  The best way to get there we think, is by shanks pony. Walk, as slow as you like. Go the full length of the beach. Pass the kids playing and the running dogs who couldn't be happier. The picnicing families, and the lone beach ball, waiting patiently to be collected.  Steer yourself between the scattered seaweeds of the strandline, and the breaking waves of the shore. Just keep going, but don't forget to stop too. There'll be plenty of bits of flotsam and jetsam that need to be checked along the way. And the odd motorboat, to watch, far out on the water, steadily bouncing over the swell.  As you approach the headland, the trees loom. They are towering things. High, with broad boughs that stretch like green sails overhead. Some will be swaying in the onshore breeze. The beach ends here, so step off the soft sand and up and over the ridge of craggy rocks, to the wooden steps leading to the woodland path. A sandy adventure, that leads steep up, under the trees. Climb. Feel how the air cools. Becomes laden with sweet musty smells and sappy perfumes. Hear how the sound changes. How the birds are singing. How their sound reflects between the trees, and combines with the washing waves. The sea enters the lowest footings of the forest along natural inlets that are lined with gnarled and exposed roots.  This place is like a temperate greenhouse. A naturally reverberant space, shaped, regulated, and defined, by the sea and the trees. Such a perfect place, to set down, forget about doing anything, and just listen for a while.  * Tree canopies can divert over 60% of the sun's heat and so make you cool through a process called evapotranspiration. Source: bbc.co.uk

This is a blend of intimate and wide spatial quiet, captured as it happened from beside an old oak tree, in a remote spot in the Forest of Dean. The time is 3:30am and the microphones are recording alone. It's 90 minutes to dawn. What we hear in the foreground are the intimate textures of a trickling stream, that's completely hidden from view under thickly tangled vines. A hedgehog is foraging through the dense leaf litter, making delicate scratchy sounds like a moving pin cushion. The space immediately around the oak tree holding the microphones is sloping, and partly cleared of trees but only for about ten yards or so. The forest stretches all around for miles.   As time passes, high planes overfly the woodland, in soft rumbly arcs. A car, speeding along the country road that bisects this area of woodland, makes white noise like a breeze in the trees. At 36 minutes, sliding from far left to far right of scene, a male woodcock flies through the clearing, making a strange qwacking type call that ends in a bright squeak. This call is known as a roding flight and it returns quite a few times.  As dawn approaches, the echoing hoots of tawny owls reverberates sonorously across the huge expanse of the forest. Dogs distantly bark, and farm animals can sometimes be heard. Towards the end, a song thrush begins to sing, short melodious notes in repeated phrases. Dawn is near.

Have the back streets faded to silent?Have the dogs begun to bark?Quick, get in, there's a storm coming. The front room chair with the cushion that isn't supposed to be outside in the yard but is, because it's been so hot of late, is that in? And the pile of winter boots left out to air next to it? And those newly potted plants that can't cope with heavy rain yet? Get them all in, the air's gone electric. Thick thunder rolls, across a strange coloured sky. Brings rain that's in such a hurry to get down it all comes down at once. Rivulets of sparkling water, flowing off the tarpaulin. Pouring onto the parched concrete yard. Wafting smells of petrichor. Heatwave storms plough a deep furrow through the sky as they pass, that take a while for the atmosphere to settle. It's the dramatically changing sound scenes such storms create that make them so rewarding to listen to.The sheer intensity of an unbridled deluge. The panoramic spatial thunder created as the lightning bolts explode vast volumes of air. And the relief, after the storm has passed, expressed through the countless dripping drops of fallen water, from all the surfaces on which it fell. Three movements. Three acts. Of a heatwave storm. A powerful storm is like a piece of theatre. It bends and redefines the meaning of time. It suspends your belief in what is normal and your perspective on reality. And when it's over, it leaves you feeling physically different to how you were before. Different, and better. * The Lento mics captured this storm as it passed over Hackney in North East London in early afternoon last week, after a long period of exceptionally hot and dry weather. The location is the back garden of a small terrace house. Temperature prior to the storm was 30 degrees. Humidity was 39%. A few months ago the humidity was typically between 80% and 90%.

Sunrise over Tenby. Blue sky. Scudding clouds. 5am, and nobody about, except for the birds in the murmuring air of a seaside town. This sound photograph, captured from behind the descending houses on St Johns Hill in Tenby, is spatial, and composed by chance with balanced foreground and background layers. A blackbird right of centre. Another blackbird, mid-distance and left of centre. Far distance, ranging 90 degree left to 90 degree right, wrens and other birds. The white noise of the beach can be heard reflecting slightly to right of centre, off the high wall of a large sided building beyond. Circling seagulls often pass over too, and light up through sound the empty airspace above.  This episode follows on from last week's 'Night murmuring in Tenby'. The daylight has come, but still rocking slightly in the breeze, is next door's rusted garden gate.  * Tenby is another location we've found that has quiet horizons. There was almost no aircraft noise in the four days we spent there. Quiet horizons we think promote a deeper sense of wellbeing and allow the natural world to be perceived properly. There is some wind noise in this episode due to coastal conditions, but because of the minimal human-made noise, the murmuration of the sea reflected off the nearby buildings is clearly audible even though it is on the other side of the hill.

Tenby. A seaside town on the South coast of Wales. End of May into early June. Late sunsets, followed by warm, springtime nights. It's 1am and the mics are recording alone. Capturing the atmosphere of Tenby, in the dead of night.    Behind where we're staying are dim shapes of buildings. A tall tree with whisping leaves. Empty sun loungers and nextdoor's gate, loosely fastened, being moved atmospherically by the gusts. Echoes of distant windchimes. And there above, the deep, dark, quiet sky. And all around, the breezes. How this place sounds. How it rests, in this smallest hour. And murmurates, under its so peaceful sky.  So much silky air blowing in from the Atlantic that it's barely any effort to breathe. Soft flowing currents, that billow, cuff, and clean. Listen. Listen. To the trees. Can you hear them? They're breathing for you.

The Hoo Peninsula is a vast open landscape on the Thames Estuary. Huge uninhabited swathes of ground. The mics (recording alone) were lodged in a hawthorn tree on Higham Marshes nature reserve and pointed out over a watery marsh. Close to the mics lapwings, redshank and cetti's warblers call, as well as geese and ducks that are familiar sounds to us urban dwellers. Skylarks circle above the farmland straight ahead on the other side of the marsh. Several pastures, with sheep and lambs in one, grazing cattle in the other. During the quieter periods when planes aren't going over, cattle can clearly be heard tearing up the long grass.  We took this 47 minute 'sound photograph' as an ear witness report of everything hearable on Higham Marshes on 14th May 2023 (map reference - 51.450474, 0.464734). Wildlife. Human life. The weather conditions were good - warm, around 20 degrees with a light breeze gusting 3-5 knots. The air was rich with scent of hawthorn blossom, cow parsley, meadow grasses and pollen.  The sound photograph is taken from the same tree as episode 73 Slow rhythms of the Hoo Peninsula, that we captured in June 2021. Due to the frequency of aircraft, subsonic throbbing of passing ships, and a strange long lasting clank from the distant Tilbury Container Port, we normally wouldn't have released this as an episode, but we've decided the recording is important as an ear-witness report for two main reasons. First, it clearly  shows the step change in human made noise now, compared to June 2021, when the pandemic was heavily impacting aviation and industry. Second, it documents the insect life, wildlife and farmed animals present on and surrounding the nature reserve at roughly the same time of year. Hearing how the birds communicate when planes are passing over, compared to how they are during the periods of quiet, has peeked our curiosity.

On Portland Bill. Dorset. We climb down jagged rocks. Naturally formed steps, waist deep, towards the water. Evenly uneven. Like narrow walkways. Some puddles along. Sea spray or resting rain? Now crouched down, she's peering silently into one of the puddles. Look, she says, tiny creatures. They're just speckles, swimming.  Rumbling waves roll in from open sea. Break against the sheer rock. Fifteen feet beneath us, deep gurgles. An underwater space, I say, can you hear it? Exposed, then sunk, then exposed again. Can you hear, the way the water seems to bend the air? We listen. Like plucking the opening of a wine bottle, with a wet thumb. Sort of, she says. Is this a good place? She already knows it is. It's where she wanted us to come. Perfect, I say, swinging round the rucksack to unpack the kit.  Away up the rock like a mountain goat and she's gone, semi vertically, back up to the path. Now, sitting alone, with the mics, hardly breathing, still as a statue. Almost at the precipitous edge of the cave mouth. Me and the mics, listening. Cave below to the right. Wild sea to the left, it's main power a few hundred yards out. Such still listening, makes me daydream. Eyes shut. Imagining I'm inside the sea cave. The waves rolling towards me. Breaking. Fizzing. Slooshing into craggy pools. Making reflections. In light, and in sound.

Just an hour. Under moorland trees. An hour to listen, to the weather, the flurries of rain. How they come and go. And the steady currents of wind. Force rising. Easing. Settling. Rising, rising again. Holding. Then easing. Blowing and sprinkling the falling raindrops over wide, waxy, sheltering leaves.  In time. Slowly becoming aware, in the quietness, of how many different layers of sound are not just audible, but readable, in a tucked away place like this. Readable to us, like words scratched into smooth bark. You. Are. Safe. Here. Because you have inherited the understanding of what the trees are saying, passed down by a million years of human evolution amongst trees. And you are immersed. And you are safe. Everything you are hearing is telling your vigilant brain there is nothing and no one about.  You. Here. Hidden. Up in the Derbyshire hills. Sat, on dry leaf litter, lent against a gently slanted tree trunk. Listening. Indistinguishable.  ------------------------- A thank you to the Lento Supporters Club.

Here, in this quiet and empty spot, only the waves can be heard, as they break sedately, upon the rocks. The waves and the velvety silence that seems to press in between them as their gentle energy is dispersed. The tree, to which the microphones are attached, and all the boulders from up which it grows, and the 18th century fort behind and to the left of the scene, remain entirely invisible to the listening ear. Or do they?  Witnessing this piece of time, where nobody came, and nobody was. Hearing it, because it is a real place, the spot beneath the tree. In full spatial detail. The way the waves move, the way the silence is always there, like the backdrop of the  night sky. Clouding over, with swirls of pale white noise, then clean black, and clear again. Everything, that when heard binaurally, forms a spatial image, shaped and contoured in our auditory brains by the reflective properties of the tree, the boulders and the huge stone parapet walls of the fort. Without these contouring influences, the waves would not make the sound they do By finding a quiet spot to listen, and putting a pair of headphones on, we can, without our physical bodies having interfered in any way at all, put ourselves into the real sound feel of this place. This place, that place, as it was, and is still there, now. * We went back to Nothe Fort in Weymouth at the start of April and made another overnight recording. The landscape around the tree emits a strong sense of quiet, and has become an enchanted spot for us. This section is from midnight. There was a clear sky and a full moon. The waves and the rocks sound different to when we recorded in 2022. Aural evidence of the world, subtly changing.

This episode includes lively birdsong, a trickling stream, foraging bees, a creaky pheasant flapping, a few softly passing vehicles along a country road and a gently droning propeller plane. Sat on a fallen branch, beside a flowing stream. Hidden from sight. An empty hillside road, where only the odd thing goes. This remote, yet sheltered spot, lies quietly and unobtrusively in the hills, a few miles above the village of Ceri.  An ancient, wide open landscape. A handful of isolated farms. Sheep graze on the high fields, and the tiny speeding dot of a sheep dog, barks, in broad circles. It's morning, and the activity on the nearby farm can sometimes be distantly heard, between the rilling stream, and the spring birdsong.  On the lane just above the secluded dell where the microphones are recording, a rattly lorry trundles by. And in a while, rolls back again, down the winding lane towards Ceri, in the valley. Natural life, and human life, as it really sounds, up in the hills of mid Wales. * This is another section from the twelve hour non-stop recording we made at this location back in 2019. We completely love the sound feel of being up in the Welsh hills, and of being somewhere far, far away. When we returned to the dell to collect the microphones, we couldn't help noticing how perfect the spot was, and how fortunate we were to find it.  Listen to all previous episodes from this special location.

After last episode's tumultuous waves upon a dramatic shingle shoreline, this week we retire behind the secluded walls of a little garden, at the back of a small suburban terraced house, for an altogether different sound feel. The sound feel of gentle rain, falling on an empty garden, in the quiet hours, when almost everyone is asleep.  We love it this time of year as winter turns to spring. And when the weather forecast is for rain. Loads of rain, in bands, throughout the night. If we can, we may leave the back door open just before midnight for a while, to let the sound in, but the thing about rain is it does not fall to order. You have to wait for it to come, and that can mean hours. Witnessing the falling of the rain is something that can be done by setting up spatial mics to record, all night, and then listen back, to experience the passages of time when the rain did finally come. At the edge of our yard,  beside a patch of old raspberry canes, there's a perfect spot where the aural presence of the garden can be heard evenly balanced. The acoustic 'presence' that arises from its physical shape and reflective surfaces, clear. All the upturned half propped up things, evenly spread. Some overhead shelter, centrally positioned. Its where we post the mics, on a tripod, so they can hear everything, evenly. Hear, for us and everyone who couldn't be there to witness it, the delicate sound and changing ambiences, of rain, falling. And when we did listen back, we heard not only the rain, but a nocturnal robin, somewhere far off in another garden, singing, as they do this time of year, in glorious solitude, in the dead of night. ------------------ Love listening to Radio Lento? You can support us here.

Last week, we walked on Chesil Beach. We felt its steepness. Its shingle. Its sound. We heard its heavy waves. The way the stones are heaved back, in long, ground rumbling sweeps. A wild, brazen place. A bird, wheeling high above, must see Chesil Beach as an endless grey white line spanning from one end of the visible horizon, to the other. From the coast road it looks like a white raging line. The Jurassic south coast of England. Unmoveable land meets unstoppable sea. But as a person sat, hunkered down on a bed of golfball-sized smoothly rounded stones. Coat pulled up against the cuffing onshore breeze just a few yards from the fizzing shoreline. You feel that between the to and fro of the crashing waves, there is a kind of softness to Chesil Beach.  A kind of hidden tenderness. A feeling made from time, and the way the frothing water delicately stills, and settles. Stills, and settles. Forms, and dissolves. Endlessly. Breaking waves, upon meek wetted stones.

When a rushing torrent cascades, down a precipitous rocky gorge. When the intensity of the white noise is so brilliant on your ears, that it feels like acoustic sunshine.You know you're here. When the waterfall's rumble is almost completely absorbed by ground knee deep in the softest, deepest foliage. When all around it echoes throughout a vast cathedral of untouched woodland, that grows up the steep sided gorge, and up, and up again. And it's intense sound blends and sheens back to you, filtered and reflected from the countless leaves and branches above your head. You know that by being here, you've made it. Made it up, to the Dartmoor gorge.  Whether it's the journey, and sometimes hazardous climb.Or the gradually growing sensation of remoteness, as you pick your way along the path, up, and up. Or the air, that becomes increasingly filled with a mix of rushing water, and songful woodland birds, and cool negative ions. Coming here, feels like a pilgrimage. A pilgrimage to a rarified place, that's lit through day and through night, by brilliant, refreshing, acoustic sunshine. * Dartmoor, in the South West of England, is home to vast expanses of woodland that we've recently learned are classified as rainforest. We made this recording in April 2022 and released most of it in episode 117. The timeline in this episode partly overlaps with that episode, but we haven't been able to travel back and we feel so drawn to the place that we decided to re-issue part of that section of time with the remaining unreleased material, this time in high definition spatial sound.

St Abbs. A small fishing village and harbour in bygone times, perched on the coastal edge of South East Scotland.  A wonderful place to experience what the world must have sounded like, before machines were invented. It is, for this reason, quite a rare place, where people can go to bathe their ears, uninterrupted, with naturally spatial oceanic noise.  To the eye, St Abbs rests along a dramatic coastal landscape, with high jagged cliffs and plummeting rock faces festooned in the daylight hours with noisy kittiwakes. To the ear though, the landscape tells a different story. A story that's about wide openness. About how sound and water waves must travel over long distances. About lofty seagulls, who seem to live in never-ending circles in the astronomically dark sky. Here, looking out over the harbour from an elevated position, the microphones are alone and recording. Capturing the rarified vibrations that waft about like acoustic mists in the salt tinged air. Layers upon layers of soft white, reverberating  noise. Sound waves made by water waves. Countless waves, breaking against and revealing to the ear through the total darkness, the harbour walls and the rocky promentaries, that form the seaward edge of St Abbs at night. Want more? Listen to episode 140 - Fishing village harbour at night (part one). ------------------------ It was Radio Lento's third birthday this week. Thank you for all the lovely messages.

This precipitous place, high in the Derbyshire hills, flows with birdsong and fresh moorland water. It's aural presence is made almost entirely of natural things. Non-human, natural phenomena. The sound-feel when immersed in it, has a depth, a width, and such rich spatial detail, that with headphones on and eyes closed, the sensation of actually being there, in the ravine, can be so strong as to trigger your visual brain to daydream you into it. Daydream you into a place of green, restorative quiet. The ravine is a wilderness.  Having picked your way through and up into it's central point, and with your back against the trunk of a sturdy tree, feet wedged against the 45 degree slope on a jutting rock, you feel safe, and hidden. Safe enough to listen, to time passing. Far below, the barely wide enough to walk on path, criss-crossed with exposed tree roots and used mainly by sheep. Below that, the fresh flowing water of Todd Brook, babbling its way shallowly, filling the air with delicate soft white noise.  Extreme right of scene, the reservoir itself, and beyond that a hillside road.  Having this piece of time uninterrupted , and from this elevation, you can watch the geese through the trees as they fly up and through the airspace of the ravine, right to left. Hear the valley's luscious reverberations. The water timelessly rilling, over the uneven bedrock. The sheep calling, as they graze the steep farmland above.  The blackcaps, the wrens , the robins, and all the singing birds, pouring out their perfect mellifluous songs, into this wilderness forest ravine.

A wide open landscape, resting, between gusts of rain-speckled Northumbrian air. This place, on the edge of the Northumberland National Park, is endlessly rural. Mostly farmland. Dotted with far apart sheep, grazing under a silent plane-free sky. It's nearly midday. Hearing the spatial sound of time passing and looking down, from a hill above, on the town clock of Wooler. How might its chimes carry? Through the speckling rain. Between the brisk gusts of scurrying air that cuff around the ears but then, are gone. Green fields sloping steeply down towards the town, framed on either side by tall, well established trees. Trees that transcribe the invisibly moving air into varying blends of white noise. Trees that are home to cooing wood pigeons. Trees seen from afar, as just patches of dark shadow on a green, far away horizon. * This is NOT a *sleep safe* episode as there is a loud bell chime halfway through! ** This is another section from the mics we left out and alone for 14 hours last summer in the hills above Wooler in Northumberland. Listen to the 5am sounds from this special place in episode 141 - Soft land murmuring. *** Every Lento episode is unique and represents an authentic passage of recorded time. We think of them as sound photographs inspired by the French impressionists. Each is an exposure from our own hand-built sound-camera, set up to collect spatial audio depicting the auditory impression of the moment, especially the spatial shiftings of audible textures.

Bright hazy sunshine. Behind, and up the bank, a winding footpath, littered with discarded sunbleached things. Here, sat still and amongst it all, dense bankside vegetation. Everything dried up, and whisping in a warm late summer breeze. Ripe blackberries growing on renegade edgeland canes. Hints of sunbathing crickets. Slishing shoreside water. Wafts of cludgy strandline clay. The Thames flows from left to right of this sound scene. Far to the right, almost inaudible, Tilbury Docks. Gantry cranes lifting containers light as lego bricks from giant ships. One after the other. Bleeps thinly carried by the cuffing wind. Straight ahead the overgrown slope of the riverbank opposite. Far to the left a ship, approaching. Mid-channel. Steaming east, just twenty miles more to go to pass Leigh-on-Sea, then out onto the open sea. Its huge engine kneads the air with deep, muscle massaging vibrations. Reminds this forgotten piece of wilderness, that it's an edgeland. Taking in the vastness of the river. And listening into its detailed shoreline. And letting the time pass. Such a wide river at this point. Such choppy water. Washing and rewashing the lumpy clay bank, in brisk rocking rhythms. Shifting something small, and tinny. Perhaps it's a fragment of paper-thin slate. Or a slither of metal. The water's revealing an empty thing down there too. Hollow. Maybe a semi-submerged plastic container being slowly unburied from the mud. A little way to the right, along the bank is a rusting wreck. A stranded pontoon bridge, left to rot. Nature will find it something to do, one day, when it's ready. All we need to to, is wait.

Sometimes we feel it's right to share an ear-witness account from a place where natural quiet and human-made noise co-exist. Our last was from the Forest of Dean (episode 135  which documented the aural reality common to so many 'natural' places today. Human-made noise has quite varied effects and meanings, not always bad. This latest ear-witness account contains sounds familiar to urban dwellers, but that are also found here in a countryside setting in January. This episode contains intense periods of forest peacefulness as well as huge flocks of jackdaws and a woodpecker. One quite distant gunshot is heard plus a heavy passing freight train, more planes than we're perhaps used to, and a tractor that caused the hundreds of jackdaws to take flight. The gunshot happens just before 11 minutes. We did (for listen-ability reasons) cut out over a hundred similar often much louder shots but kept this single one in for the ear-witness report of pheasant shooting season. Surrounded by open farmland in the Hertfordshire countryside, Bayford Pinetum has become a fascinating place to us. Fascinating because each time we visit it seems to have fundamentally changed in some material way, but still somehow maintains its same, curiously mysterious, sound-feel.  It's a very picturesque environment. Easy to take photos and feel visually immersed in nature surrounded by ancient trees and a rich carpet of lichen, moss and fungus. It's also not that difficult to imagine why people believe witches and fairies inhabit places like this.  To the ear, and during periods of quiet, when no trains or planes are passing, there's a delicate white noise sheen in one part of the forest. It hangs like a fabric, very spatially in the airspace immediately above, as you move along the path. It has a strong enlivening and relaxing effect and is audible on headphones in this sound landscape recording. We think it's the sound of a small babbling stream, about fifty yards from the microphones and down a gully, being reflected off the extensive lattices of winter bare branches and boughs high overhead. Listen to other episodes from this special place.

The city sleeps, under a dark impenetrable sky. Streets, almost empty. Beneath invisible rainclouds, countless back gardens hold up their hands. Up, as high as they can reach, to catch the falling water.  In one garden, sheltered under a wide tarpaulin, microphones are recording. Alone. On top of a tripod, and standing, as high as a person. Listening. The tarpaulin, is to them a canvas. It lets them see the rain. In all its spatial detail. A transcriber. A taught thin surface, that catches each raindrop, and changes its collided imprint into crisp edged, spatial  sound.  Drizzly white noise sheens. Sharp flurries of scattering pinpricks. Steady mesmerising rhythms. And the shadows, in time,  of the slow passing rain clouds.

A mid-February night and you're out on an empty beach, for the cold sea air, and that feeling of wild emptiness. There's nobody about. Past the silent hulk of a huge parked digger on caterpillar tracks, you reach a shoulder high timber groyne (a long, narrow structure built out into the water from a beach in order to prevent erosion.) You pull yourself up and peer over, down into the gloom. The drop onto the beach beyond is too deep. But you don't turn back. Instead, you get yourself up onto the top timber beam, and sit, in a balanced position, and look out to sea. With this bit of extra height you can really hear the width of the beach. The sea, and all the detail of its rolling waves. Their muffled thuds. their frothing crashes. The parnoramic rushing breakers that travel spatially, all the way from the far right to the far left of scene. Aural evidence of longshore drift. Ten minutes later. Settled into the moment. Sense of time regulated not from within, but by the external passage of panoramic sound, you are still as a heron. Listening. Level and straight. Tuned deep, into the dynamic foaming of the intertidal zone. *We captured this sound landscape photograph a few days ago whilst visiting Cooden Beach between Hastings and Eastbourne on the south coast of England. Only one aeroplane and one car are audible throughout this whole section of time, so we might be able to add Cooden Beach to Lento places with genuinely quiet horizons.

We captured this passage of time on a visit to some friends in Exeter last year in April during a spell of fine weather. It turned out to be a silky soft recording of a spring garden at dawn. It's about 5am and the garden birds are just starting to sing against a backdrop of high circling seagulls. From here, the still sleeping city of Exeter exudes a panoramic aural presence. A wide, steadily murmurating vail of grey brown noise, that's reflecting, and reflecting again off the many parapet walls of the neighbourhood's buildings.  We left the mics, as usual, to record alone overnight. Positioned on grass, a few metres from a wooden slatted fence and a pink cherry blossom, they witness the comings and goings of the resident birds. Tuneful robins, who by chance perch on the edges of their territories and sing at each other, like operatic performers, to the left and the right of scene.  How charmingly familiar is their song. How liquid. Often shimmery, like sunlight tilted through sliding raindrops.

At over 600 feet high, and visible for miles, this giant mass of steel pylon on Swanscombe Marsh on the Thames Estuary has a sister. They stand together, like monoliths either side of the sprawling Thames, holding up cables, and silently serving society's insatiable thirst for power. After a shortish walk over the marsh from Swanscombe station, we arrived at the pylon on the Kent side bank. The ground directly beneath the pylon, in between its concrete footings, is flat. Barren, and crackling, under sharp pelting winter rain. Cold and already soaked, we unpack the audio equipment from our dripping rucksack and set up to record. As we pulled out its foldable legs, the mic stand oddly mirrored, on an atomic level, the skyscraper above. We walked on along the new extension of the Thames Path and England Coast Path, and left the mics to record. Their job to capture, uninterrupted, this brutal sound landscape, and to whatever noises the pylon made.  The sharp winter rain. The spatial murmurations of this panoramic edgeland world. The rushing sometimes humming noise the wind fleetingly made, as it surged through the loftiest sections of the pylon (centre of scene). The deep pulsating rumble, that we later found (when speeded up) seem to be the long span powerlines, singing subsonically in the wind. A brutally beautiful day under Britain's highest pylon. *The last time we recorded on Swanscombe Marsh (summer 2021) we heard a cuckoo. Amazing! This still surviving natural land is so much more than meets the eye. Listen to episode 77.

Time aside. And at rest. A quiet, leafy space. Folkestone, on the Kent coast. An area called the Warren, where forested steeps slope and tumble into the sandy wash of the sea. It's early August 2022. A month of heat, like the south of Spain. The sun is up. The air's got that scent of another sweltering day to come. The hedgerow and the hawthorn tree holding the microphones are already hot. Turning the sun's energy into green variegated shades. And into warm leafy thermals. As time passes, and late summer birds distantly call, a little party of beach-bound people scrunch by, scattering loose stones as they go. Straight ahead the white noise hush of the sea slightly rises, and slightly falls. So many crashing waves, smoothed to an average, by distance. From here, within this ordinary looking breeze blown hedgerow, the whole width of Folkestone beach can be heard. Witnessed. From a place called The Warren. England's edge. So close to France you can see it.

Dusk has come, and the Forest of Dean is, very gradually, darkening. Silence, like dew, is beginning to settle in the voids and hollows between the trees. Shadows, and echoes, are everywhere. In the gathering dim, melodic song thrush, blackbirds, and some roosting wood pigeons are singing the last notes of the day. Sounding, from across this huge space, like they are already in a dream.  Time passes. The hidden stream beside the oak  holding the microphones trickles, and flows, beneath tangled vines. High planes lazily traverse the velvet sky. Occasionally, cars distantly glide along the fast forest road, to the far right of scene. Filtered by so many trees they make a curved and wind-like hush. Then, in the distance, a dog's barking. And a lamb. Or did you just imagine it? A lamb deep in the forest? And the dog, was that really a dog? Perhaps it's just the dusk, casting dreams upon your senses. But there's a woodcock! No mistake. It's the strangest of birds, making soft quack like calls as it speeds effortlessly between the treetops On its May-time roding flight. And an owl. Two owls. Hooting hollowly, in dusky echoes, from somewhere much deeper in the forest. * This is a late evening segment from the 72 hour non-stop recording that we made last May, in the Forest of Dean. We found and recorded from the same oak tree that we tied our mics to back in 2019! You can hear that recording in episode 17, and compare how over those three years the sound-feel of the forest has changed.

There's a bench. Perfectly perched, by the sandy steps that lead steeply down onto Coldingham Sands. Perfectly perched, because the sound-view from this bench is so wide, and the angle just right to hear the incoming waves, as they break over outcrops of craggy, elephant-sized rocks. It's a bright August day, and the sun is mistily lighting up the sea, the rocky cliffs, and the plunging, richly vegetated slopes. Conditions are calm. A little motor boat is bobbing on the swell, about a quarter of a mile off the coast. It's engine gently thrums the soft air. Land birds and sea birds ride the onshore breeze. They coo, and sing from the dense shrubbery that surrounds the bench. Dogs and owners pass by, as they head towards the open freedom of the sands. This place, on the East Coast of Scotland, is special. It's a landscape under a genuinely quiet sky. A sky free of human-made noise, where the detail and quality of natural sound reaches the ear drums intact. With headphones on, this sound landscape recording (captured spatially by lone microphones) brings you the sound-feel of this place, of sitting on this simple bench, and listening to the ebb and flow of Coldingham Sands.

Dawn. Bright morning sky. High pressure, barometer rising. A vast quiet sky, etched with a few scudding clouds picked out by the light of the rising sun. Gone is the tranquil hush of night. These remote moorland woods are alive again! Alive and lit up, not just by the morning sun, but by countless singing birds.  From a sturdy beech growing beside the ancient track, the woodland sparkles. Sparkles with an abundance of natural life to whom this patch of the landscape is home. It's crossed by a babbling brook that constantly flows with rain water running off the higher ground (audible right of scene). A place that at this time of day is almost completely free of human made noise. No traffic on the fast road other side of the valley. No overflights from rumbling aircraft heading to Manchester Airport. No hikers trudging by.  By leaving our microphones out all night, we were able to capture the sound of this remote wood in its most natural state. The wood as it must have sounded in early May, throughout the years, decades and centuries gone by. Thankfully a sound landscape that's still there to enjoy, still connect with, through the clarity of the Lento microphones, and without disturbing the wildlife.

For the very last episode of 2022, and because it's so cold and dank, we want to use the magic of spatial sound landscape recording to teleport back into the summer! It's August 2017, and our microphones are out on their first ever overnight recording, lent up against the trunk of a tree in a rural wood in Suffolk.  This passage of raw unedited time continues on from episode 112, and begins as the clock of St Mary's church, far over the fields, is about to strike 8am. A change in wind direction, and raised traffic levels on the A12 several miles away, make the bell sound more distant, and its sequence of chimes harder to count compared to the previous episodes from the dead of night. Wood pigeons, sparkling wrens, rooks and other woodland birds bathe in the bright morning sun, and sing out sonorously, through the richly reverberant spaces created by so many thousands of often very tall and long established trees. Later on, a buzzard can be heard circling, high over. It makes a simple and distinctive downward mewing call.  The woodsman, who we had been told may start work just after daybreak, can sometimes be heard shifting fallen branches, and slowly trudging by. As time passes, planes softly cross the sky. Birdsong comes, and goes. There's a loud pheasant that passes, a bumblebee, and some stark snaps from hungry crows.  Slow quiet rhythms, of a richly verdant and uninhabited summer wood. A spatial sound recording, that through headphones and for as long as it lasts, lets us and we hope you experience being present there in that wood again, on that warm and peaceful Suffolk summer's day. * This twelve hour non-stop recording was the first we ever made back in 2017. It was this desire to capture the sound of the natural landscape in high quality spatial sound that convinced us to create Radio Lento, as a platform to share the uninterrupted audio. A place to listen to places. You can ** listen to the full Suffolk Wood sequence here **.  Our warm thanks to you for listening and supporting. And wishing you a very Happy New Year!

A barn, that's stood alone on the steeply sloping fields below the summit of Black Hill in Derbyshire, for longer than anyone can remember. This is the sound atmosphere from inside, recorded around 1am this morning. Nobody and nothing is about. Not even the owls, that we've been told nest somewhere within the rafters. A storm is whipping up outside, across the moor. Strong sweeping wind, rumbling against the barn's sturdy stone-built structure. Gusting in, through its deep set windowless appatures. In time, the rain comes. Heavy. Falling onto the foliage outside. Onto the rushing stream that's filled the air around this barn for centuries, with a fine mist of natural white noise. Capturing the sound-feel inside this remote barn has been something we've wanted to do for years. Last night we trudged up the moor, in the pouring rain with our microphones, and left them alone to record. We had no idea what they'd hear. As we returned this morning, it struck us how, with its soft earthy base and timbered upper stage for the dry storage of hay, this barn would have served as a manger. We hope you enjoy feeling the gentleness of this barn. Wishing you and all a very happy Christmas! And thanks for listening to Radio Lento.

Changing weather. Shifting scenes. The east coast of Scotland above St Abbs. A landscape whose geography leaves it exposed to everything that the sky can bring. Wind. Rain. Mist. Brilliant, revelatory sunshine.  Here, listening to this landscape from within the leaves and branches of this tree. A lone tree along the Creel Path. The ancient Creel Path that's been trodden by fisherman on their way to work from Coldingham to the harbour at St Abbs, for a thousand years.  By locating our mics within the natural shelter of this tree, and letting them record alone for twelve hours, we're able to capture the full width, depth and range of this place and its unique soundscape. What is made can be thought of as an ambient sound recording. Of rain upon the leaves of a small tree. Of a tree being blown by gusts of blustery coastal wind. Of a panoramic landscape made of fields, grazing sheep, and high circling seagulls above. Spatial. With contrasting shifting scenes.  But this is more than just an ambient sound recording. Give yourself time to really focus on it. This recording is a real piece of time, captured on-location from a real place, in clean untampered audio.  By listening to it, in a quiet place with a pair of headphones, it can work as a virtual aural experience that may shift the sense of conscious awareness. From the place you are listening, to the place that is St Abbs. You, for a while upon the Creel Path, free amongst the fresh air and natural quiet that's found along the coast of Scotland.  * We set up Radio Lento as a place to listen to places. The real and authentic sound of naturally quiet and spatial places. Please let us know if you do manage to feel transported by listening, and which episodes seem to work the best. We read all comments and currently use Twitter @RadioLento as our main comms channel (for now!).

Hear. This solitude. This real captured quiet. This authentic air. From horizon to horizon. Near empty of human-made noise. Aural solitude. Rare? Becoming rarer? It is there though. It does exist. Out there. And can be found. You can find it here, like we did, at this deserted beach. An uplifting stretch of land half way between Winchelsea and Rye Harbour. It's a place where you can sit down upon the beach, and listen to the sound, of time passing. With nobody about. Nobody and nothing, to blur the pristinely detailed sounds that ocean waves make as they sweep and break over shallow shingle slopes. Break, and bend and quiver the air pockets, that occupy the spaces beneath the waves. A spacious sound landscape, made of soft rounded stones, and natural white noise.