I incorporated sound material that I had recently recorded in the Yukon, a far northern territory of Canada, in August 2002. This consisted of recordings of wood, stones and water. I intended to create an impression of constant, though perhaps subtle, tactile manipulation and movement of materials — churning rocks, shifting pebbles, tearing wood, chopping wood and trickling water. I also incorporated layers of pitch — either in the form of constant drones or rapidly fluctuating and unstable pitched material.