‘For Angel’ was my last performance with a set-up I had been touring around the world for many years. This always involved amplified percussion (snare drum, floor tom or bass drum) and electronics (at first computer, later analog synthesizer). But whatever the configuration of the instruments used, in these performances I always felt the main instrument I was playing was the concert space, using the resonance of my percussion to explore the sonic properties of the different rooms I played in. I essentially used feedback from a microphones placed over and under a drum to ‘sound out’ a space. With electronics I was able to hone in on certain frequencies, emphasizing some or canceling others out, stretching the acoustics of a space like a sculpture works with clay or stone. This concert took place in the chapel of the monestary La Cartuja de Cazalla, a space rich in acoustical possibilites. Much like in surfing, I ride out the sound waves in these concerts, pushing and pulling with the space as, much like the Pacific Ocean where I grew up, the sound surges around me, at times nearly knocking me off my balance or hurling me headlong to crash. ‘For Angel’ didn’t end in a crash, but slowly blended out into the evening, hanging above La Cartuja de Cazalla like a starry cloak.