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I first came across Trevor Wishart's music at a Huddersfield contemporary music festival in the 80s. They diffused his tape piece Vox V (1986) and I came out of the concerthall physically shaking with awe. This was the future of electroacoustic music. He gave a lecture and described ways he'd found to trick the ear of the listener into hearing impossible things. Through his impelling book On Sonic Art (1996) which first taught me how to approach concepts of 'landscape' in electroacoustic music, I began to develop my own electroacoustic musical language. Wishart's piece Red Bird (1971) is also extraordinary in the way he harnesses psychological schema to produce surreal sound worlds. Extraordinary.
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