Cities And Memory

Skara Brae, Europe's most remarkably preserved Neolithic village, offers a profound connection to the distant past. In this recording, the wind carries its timeless song, mingling with the murmurs of visitors as they explore the site. Captured through the Geofon, the vibrations of wind and footsteps resonate like the ancient village's heartbeat, while the muffled conversations evoke echoes of lives once lived amidst these stone walls. UNESCO listing: Heart of Neolithic Orkney Recorded by Alan Cook. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

"I liked how the field recording sounded messy and not put together 100% and I incorporated that in my production style. I also liked the raw sounding vibe of the recording which i enhanced with reverb to create a unique atmosphere in the background.  "I think my composition shows that every sound has a place in today's music style and we can preserve sounds from across the world by including them in our production. My plan going into the composition was to play things in and not quantize anything to keep the raw feel of the piece." Day of the Death at Xoxocotlán cemetery reimagined by Pierce. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

"Upon listening to the in field recording, I instantly had the idea of doing something involving synthesis and tying that to the idea of time travel. What stood out to me most is the raw, natural ambience that it has. I used this to use hard panning in the beginning to simulate the listener looking around. I connected it to the sound of a stream flowing.  "Upon researching Delos, I found out that it used to be occupied by the Egyptians before it became Hellenic. I chose this recording from this location as my family are from Greece, and I thought it would be really cool to make a piece using real sounds from my family's country.  "To create the piece, I used minimal layering for maximal effect. I also used sound design to help create my own sounds. I also researched what instruments were common at the time, and used those in the piece. I sampled different stringed instruments such as lyres and used harmonic minor scales to really drive that Egyptian influence. I also used dissonance towards the end to symbo

"The opera singing within the field recording sounded soul-like, which inspired us to pull inspiration from 90s hip hop, such as the Wu-Tang Clan, who also sampled a lot of old music. As discussed, we used sampling techniques and other effects such as bit crush, to achieve an old school sound." Singer at the Pantheon, Rome reimagined by Theo Steventon. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

""Wieża" considers themes of change, stasis, motion, stillness, and meditation, as suggested by the original field recording. The footsteps that explore Wieża Ratuszowa in that recording become a percussive pulse in this composition, exploring convergence, tension, loss, and progress: people, events, ideas, emotions, structures, melodies, instruments, elements of arrangement, all arriving, departing, returning, remaining constant, changing in each other's presence, and disappearing. Throughout this, the steps maintain a grounding presence, akin to the passage of time, or the presence of an architectural monument in the lives of those around it.  "The piece was recorded at home with a Windows PC, a Shure SM-58, a Focusrite Scarlett Solo, a collection of instruments, and a cat who provided invaluable support, company, and audio editing assistance (read: walking across the keyboard and randomly changing settings in pursuit of scratches)." Wieża Ratuszowa reimagined by Ross Reilly. ——————— This sound is part

From the height of Kraków’s Town Hall Tower, this recording transports you to the heart of the Old Town, where the echoes of history are intertwined with the pulse of contemporary life. Standing as a proud Gothic monument since the 14th century, the tower bears witness to centuries of change. Soft, measured footsteps ascending the narrow stairs, while the hum of modern life drifts in through the small arched windows. For me, this recording portrays the profound stillness and grandeur of the Town Hall Tower, contrasted with the lively city below. It’s a rare moment where time seems to stretch as if the tower holds space for both history and the present to coexist.  Listening to it feels like standing between two worlds... each sound is an invitation to appreciate Kraków’s timeless rhythm. UNESCO listing: Historic Centre of Kraków Recorded by Serge Bulat. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. Find out more and explore the whole p

"Hagar Qim, on the south western edge of Malta, is one of the oldest built structures in the world. Over 5000 years old, this megalithic temple overlooks the dazzling blue Mediterranean. In 2008, canopies were constructed to protect these monuments from further elemental damage. Small birds, mainly sparrows, have now made their home among the high eaves of these shelters, their calls echoing through the temple. This spot is unusually far from the traffic and urban noise that dominates much of the island, and I was able to record the bird sounds as I walked up the stony cliff path towards the temple.  "To me, sparrows are one of the characteristic sounds of the Maltese islands, along with the sound of the sea and the ringing of church bells, none of which you are ever far from. My piece merges my own field recordings of these three quintessential Maltese sounds with something very personal. My grandfather was a teacher and writer from Mqabba, a tiny village near Hagar Qim. When he retired, he undertook a labo

Footsteps on the stony path, hundreds of sparrows, the sound changing when entering under the canopy that covers the temples, other birds, insects buzzing. UNESCO listing: Megalithic Temples of Malta Recorded by Suzy Mangion. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

"The inspiration for this fugue-like piece was the imagined relationship between the crows - possibly Rooks by their call - and the Blenheim gamekeepers. One of judgement and mutual dislike, or perhaps literally a game. "The rising cello slides were suggested by what I suspect is an accelerating car in the original sound clip around at around the 1:10 mark – just before the jogger runs past.  "The title is a misquote of Sylvia Plath." Crows at Blenheim Palace reimagined by Adam Leonard. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Crows nesting high in the trees in the ground of Blenheim Palace, being very vocal on a Sunday afternoon, as we also hear one of the regular joggers in the grounds going past us. UNESCO listing: Blenheim Palace Recorded by Cities and Memory. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

"The sound piece was inspired by the Mexico City mariachi street march, I was inspired by the poly rhythmic patterns and the instruments I was hearing over the street sounds in the recording. I enjoyed how the sound kept changing and gave the impression of moving through a street or passage with sound. In my composition I imagined myself as part of the procession whilst trying to create an individual experience and thus the sub-theme: Hema, which is a Tswana word that translate to breathe and comments how collective happenings and events can be a moment of exhalation and clarity for another as it was listening to the original sound.  "I used voice together with virtual and actual instruments to create a multi layered landscape. I used voice over recorded drums,chatter, and a bamboo flute alongside virtual instruments such as brass and atmospheric keys. The sound piece starts with trumpets sounded from the march and into a contemplative soundscape lead by the flute and mouth sounds."  Mexico City mariachis r

"With its sharp, clipped sounds and natural rhythm, this recording immediately drew me in. It felt like a composition in itself, already crafted, and required little manipulation to tease out its natural syncopation and lively tempo. In my reimagined piece, I aimed to enhance these natural rhythms, capturing the physicality of Kente weaving - the movement of hands, the crossings of parallel threads, the interplay of warp and weft.  "As I listened, the percussive quality of the weaving reminded me of the gyil, the traditional Ghanaian xylophone/ wooden. The gyil’s bright, buzzing resonance created by its gourd resonators mirrors the sounds of the wooden loom and treadles. Inspired by this connection, I incorporated gyil-like tonal elements into the composition and played with a few samples. The warm, resonant timbres of the instrument blend with the weaving sounds, creating a dialogue between craftsmanship and music, tradition and reinterpretation. This interplay between instrument and craft reflects the deep

"In my composition, I mixed the sound of an air raid siren in Prague, Czechia; the sound of a metronome as a symbol of time’s relentless march and history’s cyclical nature; two voices: a child repeating after his mother the names of Ukrainian cities; and an old Ukrainian folk song, Grey Goose, sung dramatically by a solo a cappella female voice (Yulia Volovik). "I chose the air raid siren in Prague because this sound triggers my feelings about the painful facts I have lived with since 2014. How come 1968 and 2014 are connected in my mind? I didn’t reflect enough on the Soviet invasion of Prague in 1968. I was just a little child then, but later, I learned about the eight people (the only eight people in the entire USSR) who were brave and noble enough to protest on Red Square. They became my gods. I later met one of them, Natalia Gorbanevskaya, in Paris, and we stayed in touch for a while. I considered her to be much more human than I was, and I wasn’t able to make friends with her. I regret that. "In 2014

The air raid siren in Prague that sounds the first Wednesday of every month, and it is a practice alert as part of the Czech Republic's emergency preparedness system. The siren goes off at 12:00 PM and it's not meant to signal an actual threat, but rather to test the nation's readiness in case of a real emergency. It serves as a regular reminder of the country's civil defense system, helping citizens stay aware of the procedures they should follow in the event of an emergency such as a natural disaster, military conflict, or other national crises. The air raid siren system in the Czech Republic has its roots in the Cold War era, when the country, like many others in Europe, prepared for the possibility of airstrikes or other wartime threats. Though the geopolitical climate has changed significantly since then, the sirens remain a fixture of emergency preparedness. It's important to note that the siren is a test, and there is no cause for alarm when it sounds that Wednesday. However, the government encourage

Distant Mariachis bands play at Plaza Garibaldi in Mexico City. Mono 48kHz 24bit. UNESCO listing: Mariachi, string music, song and trumpet Recorded by Erick Ruiz Arellano. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Ewe Kente weaving by a group of two weavers in the Kpetoe community in Volta Region, Ghana.  Kente is woven on a horizontal strip loom, which produces a narrow band of cloth about four inches wide. Several of these strips are carefully arranged and hand-sewn together to create a cloth of the desired size. Most kente weavers are men. Weaving involves the crossing of a row of parallel threads called the warp (threads running vertically) with another row called the weft (threads running horizontally). A horizontal loom, constructed with wood, consists of a set of two, four or six heddles (loops for holding thread), which are used for separating and guiding the warp threads. These are attached to treadles (foot pedals) with pulleys that have spools of thread inserted in them. The pulleys can be used to move the warp threads apart. As the weaver divides the warp threads, he uses a shuttle (a small wooden device carrying a bobbin, or small spool of thread) to insert the weft threads between them. These various par

Recording of St Peter square, with people speaking, walking, waiting in line to see the Vatican. Millions of tourists visit this sight every day so this it how it sounds all the time. UNESCO listing: Vatican City Recorded by Danilo Crnogorac. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

"The first National Park in the United States was Yellowstone, and the most recognised attraction is the geyser Old Faithful. Predictions of Old Faithful eruptions are central to human activity at the site. People plan their days around these times. Efforts are made to make the most accurate predictions possible, however there are variations and it is never exactly known at what moment the geyser will erupt. It is a wonderful representation of human reliance on natural rhythms, which we only partially understand. "In my composition Pulse of Yellowstone, I explore the rhythms and predictability of Old Faithful. There is a predictability of pattern and rhythm, yet it is slightly off of what is expected, reflecting the experience of those who attempt to predict the geyser.  The raw recording occurs in its entirety twice in the piece - at the very beginning, sped up very fast to give the listener the essence of its overall shape, and at around half speed across the entire piece to set the pace and drama of the c

"I was inspired to create a piece reflecting the complex history of this World Heritage Site via the personal recollections of a centenarian with fond memories of growing up on such a cosmopolitan coast. And yet if we go further back, more complicated histories also reside here - and so I wanted to refer to that ambiguity sonically - especially in a place which is now such a tourist destination.  "I used the field recording to create a portal in and out of the space and also to make a few new sounds scattered around the piece. It’s a beautifully vibrant street soundscape to be able to springboard from in various ways. This is a place where I have travelled and experienced sonic histories constantly emanating - each element telling a different origin story - looping back to the present day where sounds reveal the past and present intertwined. "I included sounds of a call to prayer, ocean and also words from a guide at the Anglican Cathedral - the music also includes Indian vocals, a background Swahili church

"I originally picked this sample because it reflected my research interest in pedestrianism. Listening back, I was wondering what the volume of conversation and impression of sociality around the Vatican that was captured in the sample might mean....at the same time, I had the idea of incorporating the Angelus bells which still ring twice a day in Dublin. Similarly, everyday life happens around these calls to prayer in Ireland. They form a backdrop to my walking around Dublin 7. Even if they are largely ignored, they are necessarily part of the city's sonic architecture.  "While typically they are thought of as a call to individual reflection, I recently read a piece which suggested they should be considered a call to collective prayer which seems like a more productive way to consider it. In both the Vatican sample and the everyday experience of the Angelus bell, there's a constant struggle between the contemplativeness both are supposed to represent and the pace and raucousness of modern life. The musical