Cities And Memory

This recording captures the vibrant atmosphere of Ubud's local market, where the sounds, sights, and aromas of Balinese culture come alive. This recording captures the morning bustle of the market, as vendors and shoppers go about their day amidst a kaleidoscope of colors and textures. The air is filled with the lively chatter of locals haggling over prices, the clinking of pots and pans, and the sweet scent of incense wafting through the stalls. The soundscape is a rich tapestry of Balinese dialects, laughter, and music, creating a sense of community and warmth. Recorded in Ubud, Bali by Colin Hunter. 

"The bees swarming and the sound of footsteps in the old street of Shanghai indicate the entrance into a fantasy world.  "The original field recording inspired me to escape into the world of dreams where sharing, friendship and love reign." Sanlin old street, Shanghai reimagined by Cristina Italiani. 

"I jumped at the chance to use audio from a market, thinking that humans gathering together at market must be nearly as old as civilization itself. The rhythm of the audio file inspired me to use its elements exclusively for the percussive parts of the piece, and keep it simple and fun." Market in Ubud, Bali reimagined by Voltij / Paul Clement.

"The subject of the original recording gave me pause. My overwhelming reaction was one of sadness at how little humanity changes, and how painful and disastrous the situation is for all involved. I read about the Mount of Olives - the location where the recording was made - and that it was a place of mourning. "This response tries to express that feeling, but also to try and suggest the passing of things, and the possibility of change and renewal.  "I took some short samples from the recording and looped them, playing multiple copies pitched up and down. A few takes were made, playing with these and some effects to create new tracks, which were then blended together, mixing into a recording that I had made of the rain falling here on my roof. I hadn't originally realised that there were birds audibly singing in amongst that, and though initially I hadn't wanted anything but the sounds of water, it felt like their song provided a symbolic note which was apt." Mount of Olives, Jerusalem reimagined by Sum Cro

"The original field recording is called ‘Jerusalem Palestine Prayer’ and we selected this because of the unity and energy of the voices. These voices, from a location caught up in war, ride above the present and echo the ancient past. Interwoven with this are field recordings made at London’s Union Chapel, where the voices tell their own stories of struggle and the perseverance for freedom.  "To this, we added prayers recorded on 15th June 2025 at the Chapel’s Trinity service, featuring the prayers of the Revd Cathy Bird and voices of the Union Chapel Singers. The piece ends with a mechanical sound which nudges into silence. We placed this here as a punctuation with the present, as we await the future." Wailing Wall, Jerusalem reimagined by Caroline Grimshaw & Stephen Mugford.

"“Echoes of the Wall” is a haunting and deeply evocative musical composition built around a field recording taken at the Wailing Wall (Western Wall) in Jerusalem. The piece carries the raw, ambient sounds of prayer: whispered Hebrew verses, the rustling of bodies in motion, and the quiet weeping of worshippers. These organic, unfiltered audio elements form the emotional and spiritual foundation of the song, grounding it in one of the world’s most contested and sacred spaces. Layered over the recording is a slow, minimalist instrumental arrangement: a droning synth that mimics the tension of held breath, sparse piano chords echoing like footsteps on ancient stone, and electronic pulses that resemble a faltering heartbeat.  "The composition deliberately avoids lyrics, allowing the natural soundscape and instrumentation to carry the emotional weight and ambiguity of the moment. The silence between notes becomes as significant as the notes themselves—a metaphor for voices unheard, lives paused, and hopes suspend

Stepping on leaves, old man sneezing, birds singing, kids' laughter, water flowing, dog gasping, people talking, scooter siren, sparrow calling, wind blowing.  Recording was made by students Phineas, Morpheus and Neil, during a sunny morning visit in late March.  Recorded by Phineas, Morpheus and Neil (students in Kirk Kenney's CPET-YouCH Music and Community class, Spring 2025).

"I listened to the Barcelona Auction by Ferran Destemple and I knew that I could do something interesting with the auctioneer's voice. I wanted to create something artful and strange but my background as a musician took over as it often does. Watcha gonna do? The finished remix has a song-like structure but I like to thing that it's suitably weird. Enjoy!" Flea market in Barcelona reimagined by Bill McKenna. 

This recording captures the auction at the "flea market" of the "Encants" in Barcelona.  The auction takes place every Monday, Wednesday, and Friday from 8 to 9 a.m. All kinds of old objects, collector's items, closed deals, emptied apartments, etc. are auctioned at this market. All these items are auctioned in lots and then sold at retail. Recorded by Ferran Destemple. 

"The field recording from Perugia, Italy instantly reminded me of long summer days lying in the grass looking at clouds. I decided to keep as much of the piece in as possible just fading in and out as the tones ebbed and flowed. "I wanted to create something that captured that summer nostalgia feeling, but as with all my music, there's always a tone of longing—a slight ache, a feeling of grief. I guess it's the grief of not being a kid anymore, of not being free to just laze in the grass. But also, maybe it's a reminder that we just need to lie in the grass and listen to the distant noises a bit more." Countryside soundscape in Perugia, Italy reimagined by Trees Can Talk (Rebecca Vaughan).

The recording is from April 16, 2025 at 16:27 and was made at the Parco della Pescaia, a small park located in the south-west area of the city of Perugia, Umbria, Italy. The Park occupies an area characterised by the presence of a system of basins for collecting spring water from the area as well as water from the Pescaia ditch which ran alongside the current park, and which were used both for irrigation purposes and for fish farming. This park bears witness to an ancient time when the soundscape was profoundly different, with a high acoustic definition. Today the park is completely surrounded by roads, buildings and concrete. What you hear is the fragile balance between two acoustic ecosystems. Recorded by Nicola Fumo Frattegiani.

"This sound was all recorded and played, composed by me/the last parts with Mubilla  my mother. A field recording from a walk at Mt. Mitake is mainly walking. I enjoy  creating sound walks - in Japanese this is "osanpo". The osanpo with the Ghana Pantuase recording  was a great moment, thank you!" Chorus of insects in Pantuase, Ghana reimagined by Ayane Sato.

"I took a small segment of the snapping shrimps and slowed this down significantly by differing amounts then layered these new files. A recording of squelching seaweed, slowed down birdsong and horn was added. GRM evol plug in was applied to some of the tracks to increase the intensity. It evokes in my mind an underwater experience." Hydrophone recording of shrimps in Canaveral Park reimagined by Alison Beattie.

Insect calls in distinctive stereo fields and frogs singing and calling in the background. Subtle Church music can be heard in the background.  This place which used to be a thriving wetland, is now a mixture of natural and human acoustic activity. The recordings here are being used to monitor/observe as well as archive diverse “remnant” species there and finally, as a tool for raising awareness about fragile ecosystems. This is a recording of Soundscape Ecology mentee Emmanuel Baffoe from Pantuase, Ghana. Recording date: 22nd November 2024.

This is the sound of thousands of snapping shrimps recorded with a hydrophone on a very dark night near New Smyrna Beach in Florida. The moment my hydrophone entered the water, I was entranced. The crescent moon and Venus created an even more special moment. Recorded by Andy Popperwell. 

Someone once told me that the sound of gibbons is a sound designer’s wet dream — and they were right. But recording them? That was a journey. I had to wake at 4 a.m., when the lowlands were cloaked in deep quiet, and the only thing stirring was the soft crackle of termites in the dark.  I slipped into a boat and drifted silently into the heart of the forest, then walked for an hour through hushed undergrowth, not speaking, barely breathing. And then — there they were. The gibbons' calls rose like voices from another world, rich and resonant, vibrating through the trees like an ancient language.  Recorded in Cat Tien Park, Vietnam by Rafael Diogo.

"Hearing gibbons in the wild is a magical experience. Their language is dynamic and haunting. My intention was to provide a mood and additional atmosphere to their chatter, hinting at a potential narrative."  Gibbons in Cat Tien Park, Vietnam reimagined by Eulipion Corps.

"Every place has a heartbeat, a beat all its own. As a songwriter, I try to echo the beauty and mystery which already exits.  "For the Koruse Beach field recording, I was immediately inspired by one little bird, whom I named Koko. What a wonderful eighth note rhythm he had in his song! At first, I tried to tame Koko by cutting his song into single chirps in order to manipulate them. But Koko sounded wrong, not like Koko. So, I knew I must be Koko. I grunted (not chirped, because chirping "like a bird" doesn't work) into the microphone, and raised the grunt an octave. I became the "strange bird" on beats two and four to join with Koko's natural song. "There is nothing like a synthesizer to provoke images. Using a hesitant synth arpeggio, I urged the sound to become the pull and release of waves against a north country's shore. A piano melody joined the cacophony and brought the thrill and challenge of a new day just beginning.  "To honor Estonia's rich vocal heritage, I added a vocalization of the main melo

This recording, made in 2024 on the beach of Kõruse village in Saaremaa, Estonia, captures an unfiltered moment of nature in spring, when bird activity is at its peak. Being totally blind recordist, I have always been fascinated by sounds—I call it the blind photography. While others take pictures, I take recordings, and my goal was to capture nature as authentically as possible. Late in the evening, I set up my rig and left the recorder alone on the beach, allowing the landscape to unfold on its own terms.  The result is a rich, immersive soundscape: a duck bursts from the sea on the right, quacking intensely as it flies past the microphones, followed closely by another in pursuit. In the background, a chorus of birds fills the air, their calls resonating against the deep natural reverb of the forest behind.  The remote and untouched character of the location creates a distinctive acoustic atmosphere, where the interplay of coastal and woodland environments adds depth and movement to the sound. Free from h

The Murrumbidgee River catchment extends from the Snowy Mountains to beyond the dusty plains of Hay and includes numerous permanent and temporary wetlands. Fivebough Wetland is distinguished through recognition under the United Nation’s Ramsar Convention, which identifies sites of international importance for migratory birds. Many birds travel to Fivebough from the northern hemisphere during spring, where they stay for summer and then return to their breeding grounds in northern Australia and other islands to our north.  In winter the wetlands are also home to thousands of migratory birds taking advantage of the food and shelter resources available. Over 170 different bird species have been observed at Fivebough, including seven species considered threatened in New South Wales. Of 360 wetlands surveyed within the Murray-Darling Basin, Fivebough recorded the highest number of waterbird species and it ranked second for the total number of species recorded in a single survey.  Upwards of 20,000 waterbirds