A flowing and fluctuating record of the waterways, In a River Shadow explores the meeting points of deep time and song-time. Traditional sonic forms are abstracted, with early instruments, environmental recordings, and synthetic textures acting as conduits. 

Bone flutes and bullroarers based on designs sourced from prehistoric sites across the Scottish Highlands and Isles were sounded in situ, in caves, by tidal estuaries, on moorland paths, producing tones shaped as much by water and terrain as by hand.

Folded into a hyperreal soundworld, the result is a kind of speculative folkway futurism, where songs emerge through entanglements of this sonic material.

On Selkie of Sule Skerry, an old Orcadian ballad of between worlds, absent fathers, and the search for belonging, Poole sings underwater — layering submerged vocals with percussion made from river stones tapped, rolled, and carried by the current.

Star of the Sea reworks a Catholic hymn into a morphing, bell-strewn invocation. Alongside other reimaginings, such as Weila Waila, they form a cycle where tradition, environment, and computation meet and reshape one another.