So in the end he says it was a good thing he forgot the DAT.

He told one of the Sherpas helping him that some Westerners sample the music from this place and use it in their productions, and it was the Sherpa who said, oh, it's sacred music, they probably wouldn't be happy if you sample it.

And he says he actually meant to bring a DAT machine along, but forgot to. It was Nepal where he went, not Tibet, but he did go to some Buddhist monastery. Okay, I checked the interview, it's in the book that accompanies the Trance Europe Express 3 comp, I misremembered it a bit. That seems like an interesting approach to doing this sort of ambient music, and I think that between the lines he was also criticizing the cultural appropriation of the 'world techno' artists of that era, such as Banco de Gaia, who were straightforwardly sampling the (sacred) musics of other peoples. (Though of course it's possible he did some field recordings in Norway and used them on the album,) He then explained that he didn't have any recorder with him in Tibet the album is thematically based on the Tibet trip, but what he did was try to recreate the sounds he heard there after he trip was over, in his studio. And he said no, he felt that it would've been wrong to record their music and use it like this, because it's sacred to them. The interviewer then asked if he'd taken a recorder with him, to record the music of the Buddhists and use it on the album. I'm not sure if there are actual field recordings on that album? I remember reading a interview of him before the album was released, where he mentioned that the album was inspired by his visit to Tibet, and to some Buddhist monastery there. Surprised Biosphere's substrata did not get mentioned as a 'field recordings mixed with music' example.

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