"The number of field recordings made and released has increased massively in the last two decades – the era of mass air travel has spawned many recordists and many listeners. Over the same period, the field itself has become an object of fascination. Many recordists, rather than focusing on musicians, have turned their attention from folk musics to the background noise of nature and the environment. Anyone who’s used modern recording devices will understand why. Turn on your recorder, pop on your headphones, and the ambient noise of a location suddenly comes vividly alive. Recording equipment gives you bionic ears. It is like hearing closer, or in a new way, or for the first time.
This experience of listening to the world can be so vivid it’s not surprising that recordists want to share it with others. But more recordings are now made and distributed than any listener could ever hope to keep up with. “
I touched on how the genre felt saturated two-odd years ago when I wrote an essay on Field Recording/Phonography for Blackflash magazine.
In lieu of quoting myself (tacky, no?) I’ll just link to:
Yeah, yeah, I wrote it, tooting my own horn, etc.