Bartolomé Sanson and Félicia Atkinson’s amazing Shelter Press label keeps its boundaries fluid, porous with Camo; a bewildering and beguiling blend of field recordings and post-techno abstraction woven into uniquely polymetric, insectoid techno designs by Felicity Mangan and Stine Janvin Motland’s Native Instrument. Centred on Mangan and Gotland’s archive of fauna recordings made on location in Australia and North Europe, Camo works to a subtly ambiguous agenda, bending our perceptions between rural, human and electronic sound sources without ever letting on to the real source, in effect bridging natural and synthetic representations as part of an honourable tradition reaching right back to Messiaen mimicking bird song on the piano. Camo unfolds as four sound images presenting the true artificial nature of Native Instrument. With Deep Frog we could be listening to a plainchant chorus of green fellas or a drone race, both egged on by a flock of birds, whilst Vögel Unserer Heimat opens to a racket of running water whooping macaques and busied insectoid pulses building to a purposeful techno march. Waldfest follows in pursuit of a more crepuscular scene threading Donato Dozzy-esque pulses thru an intensely detailed pastoral scene of chattering dolphins and panicked cicadas - we’ve no idea what they’re doing together on the Wald, either - before Emutional Flutes rotates a crackly narration from a nature documentary amid a call centre of nattering feathered creatures, striking a very odd and disorienting balance of stasis and psychotomimetic repetition maybe best termed as amphibian trance...