In this article, the author details his compositional strategies concerning the use of field recordings from specific sites around the world, acquired through the globalised medium of the Internet, and his incorporation of usually unwanted artifacts of the digital audio medium — glitches, noises and other digital detritus - into the soundscape. He also discusses some the problems that he has encountered; such as, the application of a deconstructive critique in his work, and the problem of relating music to specific social contexts through the use of field recordings from particular places; the way in which globalisation often tends to erase our sense of the differences between places.