Composed by : Thomas Tilly Vinyls / Mastered by : James Plotkin Cd / Mastered by : Thomas Tilly Lacquer cut by : Rashad Becker, Dubplates and mastering. Produced by : Aposiopèse, Le confort Moderne, Jazz à Poitiers, le lieu Mutliple and Thomas Tilly. Artwork by : MB © Mélanie Bourgoin, 2013. cture the forest as a city, a construct, an ensemble made up of strata and verticalities, where signals respond, oppose, and ignore each other. Variation operates continuously; solids and vacuums are created as a function of time, of peak and off-peak hours. Listening to this density, in which the languages escape our comprehension, puts our ears to the test and from time to time permits the appearance of analogies with a modern acoustic environment. Cultural ties bring together our perception of the sound of technology with these natural acoustic phenomena: "It sounds like…; it resembles…". The tones? The structures? There is something that exists in the tropical forest that rings and plays, like electronica, like music, like electronic noise. In any case, there is something that characterizes an era long before the birth of the biotopes that compose the forest and are at the origin of these sounds. Script Geometry was conceived of this idea, of the desire to work with this density and to attempt to extract the characteristic forms of these analogies. To take these sounds out of context and to re-purpose them, much as how the circuits of a synthesizer are wired. To weave these strata and verticalities together in a different pattern, using the signals from the forest as if they were synthetic sounds. To dissect the spectrum of the forest and to find within that which only listening can reveal. In March 2013 I traveled to the Nouragues scientific research stations in French Guiana. Situated in the heart of a tropical rain forest, these stations welcome international scientific research programs dealing with the tropical forest and its biodiversity. For the 30 days and nights of my stay, I listened to and captured the sound environment with a focus on animal communications; those which are perceptible to the human ear, but also the inaudible that exist in the ultrasonic spectrum. The result is a collection of compositions and phonography characteristic of the zone. No electronic manipulation has been added to these recordings other than a low cut filter and a light EQ mix.