Cities and Memory - remixing the sounds of the world

Based on a recording made atop the tallest peak in Thailand, Doi Inthanon, this piece evokes the wonder of looking out across the entire country, with the sounds of birdsong reverberating around you. The slightly clipped bass sounds, and the whole mix being sent through a tape doubler, gives a woozy sense of height and breathlessness, while the synth pads and manipulated guitars are an expression of the beauty of the natural order of things.  Towards the top of the peak stand two adjacent chedis, one called Naphamethinidon (นภเมทินีดล), meaning 'by the strength of the land and air', and the other, Naphaphonphumisiri (นภพลภูมิสิริ), meaning 'being the strength of the air and the grace of the land', the latter of which names this track.Doi Inthanon peak, Thailand reimagined by Cities and Memory. Photo by Ash Edmonds on Unsplash.

A lively resident crow is the star in this walkthrough of Gare de Lyon in Paris - while we can hear the usual hall reverb, trolley bags, travellers chatting away and platform announcements, this crow is letting his presence be known to everyone, cawing loudly and persistently as if to say "hey, this station is mine too, you know!". Recorded in Paris, France in February 2026 by Cities and Memory. 

"Four years in France, regular trips From near Lyon to Paris, via the Gare de Lyon and my familiars — the crows — the track evoked those memories."Gare de Lyon, Paris reimagined by Dennis Moser.

Hiking at the Kew Mae Pan trail, Chiang Mai, Thailand. With the perfect view of nature things at the top of the mountain. A little bit tired but it was such a happy day.Recorded by sound_of__memories.Photo by Ash Edmonds on Unsplash.

"When I received the field recording by Daniel Mackenzie I thought 'what an absolute gift!' All the elements to make a remix are all contained in the original field recording. I used a Roland SP404 mk2 to sketch out the fundamentals, and to focus on what parts to sample, and mastered in Ableton. "Rudimentary effects were used (filters, eq, delay & reverb) but no synths whatsoever; the piece only contains samples from the original field recording. "I had an absolute blast doing this, and I hope you enjoy listening to it as much as I enjoyed working with it!" Lamma Island playground reimagined by Rod Dykeman

A recording taken which captures a moment of life away from the intensity that Hong Kong is associated with. Lamma Island is a short boat ride away and has a unique calm that is almost unimaginable when you've spent several weeks in the nearby city. The sounds of children playing are atmospheric and contrasting against passing vehicles, and occasional sounds of wildlife.Recorded by Daniel Mackenzie. 

"The tranquil atmosphere of the field recording, the birdsong and the soft cooing of the pigeons in the background immediately appealed to me."First, I spectrally cleaned the recording in an attempt to distil its acoustic essence. The next step was to isolate individual distinctive sounds and rearrange them in time. These form the intro and outro of the piece."Secondly, I was faced with the question: what actually defines the location of the recording, Mayenne in France? The answer to this, spoken in French (which was, of course, only rudimentary), forms the three vocal sections of the piece."As a third element, I felt I still needed instrumental music to symbolise the rural and tranquil atmosphere of the place. For this, a lively, folk-inspired song featuring acoustic instruments (guitar, accordion, bass and subtle percussion) seemed the most fitting."I hope the people of Mayenne like this piece and see it as a tribute to their town."Mayenne soundscape reimagined by Martin Juenke.

We can hear the "noises" coming from the garden of the house. This house is located at the entrance to the city, right behind a commercial area.It is around 10:30 this Saturday, February 22, 2025.The sun emerging from the gray morning mass, birds, light and other small elements are taking possession of the place.The walls cut off the sounds coming from the commercial area, the garden extends to the edge of the river below.In the distance, we can hear the sounds of the city.Nature is right next to this area of ​​activity, free and strong. No one pays attention to it. It evolves and sings at its own pace.Recorded in Mayenne, France by Philippe Neau.

| This recording captures the Maasai people living in one of the most remote regions of Kenya, near the invisible borders with Tanzania in the Loita Hills. It focuses on various Maasai widows as they work, their movements intertwined with the melodic songs they sing in their native language. Their voices carry the weight of experience, tradition, and resilience, echoing across the village and surrounding landscape.The environment unfolds through subtle layers of sound. The rhythm of daily work, sweeping, grinding, and tending to tasks, blends naturally with their singing, creating a living soundscape where life and culture are inseparable. The melodies and words of the Maasai language reveal a deep connection to land, custom, and communal identity.The soundscape is immersive yet delicate. Each word and each note carries meaning, telling stories of history, survival, and belonging. There is no single focal point, allowing the listener to enter the world of the Maasai women as they experience it, a fully inhabited environment where work, song, and life coexist seamlessly.This recording is not simply of women singing while they work. It is a living portrait of a remote culture, capturing the endurance, traditions, and rhythms of the Maasai people in a region shaped by both visible and invisible boundaries. It preserves a rare acoustic glimpse into a way of life increasingly under pressure, offering a valuable record of human and environmental heritage.Recorded by Rafael Diogo.

"The moment I received the sound file, I was pretty assured I knew exactly what I was going to do. While the words of the tribal song change, the melody alongside the call & response from the widows of the Maasai tribe of Kenya spoke to me in its repetitious, looped like fashion, and as such, I wanted to treat the file a bit like how Reich did his seminal minimalist "Come Out" (1966) composition, and as such I looped, layered, delayed, and effected layers upon layers of the widows singing, slowly introducing further layers and effects as the composition's time goes on. "It has long been my understanding that African tribal songs are rooted in a deep spiritual connection with our planet, and the cosmos, and as such, I crafted an ambient drone from the NASA Sonifications of Galaxy M94, which by absolute serendipity paired perfectly with the song of the widows. "I've added an additional Roland SH2 synth layer, a slow attack and release sub bass, and a random arp on a Yamaha DS55 Music Box patch with some effects in tow to round things out. "The idea is for the music to supplement the layered, effected, and looped song of the tribe, but to never fully take over, allowing the backdrop of our universe to be the canvas the song of the tribe is painted upon."Maasai tribal song reimagined by Akira Film Script (Ryan Watts).

"The original sound recording immediately reminded me of peaceful moments spent watching light glinting on the water. I improvised to the birds, the sound of the water lapping against the dock and what I imagined to be the sunlight shimmering on the water. "Each time I sat at the piano, I listened out for a different element to respond to and then played around with the sound of each part. I wanted to place myself on that dock, dipping my feet into the cool water, surrounded by all these blissful elements."Floating dock at Lake Chiusi reimagined by Jess Bryant.

The recording is from April 7, 2025 and was made at Lake Chiusi located in the Val di Chiana in the province of Siena, Tuscany. A small floating dock was chosen as the audio recording point. The banging of the dock accompanies the listening of the lake soundscape. It is the lake itself that, with its movement, 'plays' this dock. The random rhythm generated is grafted onto the very rich acoustic environment of the lake.Recorded by Nicola Fumo Frattegiani.

The day is coming to an end for the small port town of Cabusao, with most bamboo boats securely tied to the seawall bordering the makeshift and cement homes of the people to restless horizon of the San Miguel Bay. High tide approaches, so two biologists take a battered old tricycle to catch their boat home before the waves get too strong for their ride to dock safely for boarding. From the guttural sputtering of the old motorcycle to the bendy creaking of the rusty carriage, imagine the fish port moving past you all while sitting still. Recorded in the Philippines by Timothy Romero.

"The recording I chose was quite full on, noise-wise, but also incredibly evocative. It felt like a travelogue, and inspired by this and an old audio montage technique used by 'Bomb The Bass' on their debut album 'Into The Dragon', I decided to create a kind of jangling, noisy audio travelogue, featuring localised Filipino radio broadcasts, classical Filipino music, youth-oriented TV interviews, and a sampled, looped, heavily treated rhythm; all anchored by the fluctuating, almost synth-like drone sounds of the original sound recording."Cabusao tricycle ride, Philippines reimagined by Tazer McFictionzap.

"For this project, I've chosen a recording that was - very appropriately- named "Loud morning walkers on quiet street". Between other choices, this was the only recording, that made me pause to think about human nature. I became interested in its sonic layers, that oscillated between serenity and chaos. "My idea was to study this interplay, to dissect the parts and to re-imagine a new sonic landscape, where different rhythm patterns represented different textures of the human activity. I've used parts of the original recording as a background layer and, based on the flow of this layer, I've built four different patterns. The final track was played and recorded live with a digital eight track recorder."Vancouver morning walkers reimagined by Rin Kaseya.

The random summer sounds include bird song, dog walkers, a truck, a garden sprinkler and a cough. However, the event (7:28) is the loud Cantonese-speaking group of woman passing by on their daily walk – always around 9:30 am and always very animated! I do not know what they say to one another. Recorded in Vancouver, Canada by Emiko Morita.

"The piece is made up entirely of samples from the field recordings, chopped, filtered and mangled, with the exception of "Game Over". The overall piece sounded like a retro computer game. Further research revealed that the dashboard software on S-Bahn trains is Windows 3.11!"S-Bahn trip in Berlin reimagined by Simon Woods. 

An S-bahn journey from Savignyplatz to the Hauptbahnhof in Berlin - train sounds, doors opening and closing, announcements in German, September 2025. Recorded by Cities and Memory. 

"I transformed the original field recording into a more dronish soundscape and added some subtle guitar layers over it. The result feels like a warm atmospheric cinematic piece. I think the edit of this field recording offers further opportunities for more (de)compositions..." Lake terrace in Lummen, Belgium reimagined by Marco Vanoppen.

Recording of the ambient sounds on a terrace by a lake called "Schulensmeer". Noisy visitors, so almost none of the nature sounds are audible.Recorded by Lummen, Belgium by Marco Vanoppen.

"Taking the original background noise of a Columbian protest and treating it like a drone, but adding reverb and delay on certain higher pitched sounds within it, I built a reggae bass loop and drums with some dub effects, building to a more dance 4/4 track. The piece then progressing to bring in brass to reflect the carnival vibe of South America."Protest in Bogotá reimagined by Dubberrookie.

Binaural recording of a protest in Bogotá Colombia from my porch. Birds, traffic, protest. Recorded by Seth Power. 

The Rialto fish market in Venice is an incredible piece of history, dating back to the 1200s. Sometimes when you're in Venice, it feels like little has changed (other times, conversely, you're well aware of the march of time!). Once the fish market is close to closing, what we hear is the sound of workers shovelling up the ice and leftovers from the ground to be taken away. For hundreds of years, this has gone on almost every day of the year - with every shovel of ice, there's a piece of Venetian history to go with it.Recorded in Venice, Italy in December 2025 by Cities and Memory. 

The sample of the workmen shovelling the ice to cleanup the market space has this rich, raw, physical and rhythmic texture, and an overall flow from start to finish. It's a story of a changing states - and I felt like accentuating these changes  would be an interesting direction.Of course, ice itself changes state, and that sparked the idea to use various states of water - rain, frost, snow, meltwater, rivers, oceans, dripping, boiling steam - as the accenting elements to create quite a gestural piece. The source sample is left in place, and no effects are used on the various field recorded elements other than volume shaping (it felt like the piece itself was very raw, and did not need adornment).Venice fish market clearup reimagined by Warren Anthony.

 "I began writing this song on the spring equinox, so it felt natural to follow the sun.While writing it, I kept thinking about the whole cycle: winter's quiet, spring's return, summer's abundance, autumn's slowing down. "The same is true of day and night - we need both. "This song is really about rhythm: how spring only means what it means because winter came first, and how light matters because darkness does too. "Plants rest, animals slow down, people turn inward, and then life rises again. Follow the Sun is a song about the sun as guidance, but also about learning to trust the rhythm of life."I worked with a live recording of a jazz band playing in Paris, using a sample of its melody as the initial spark. From there, I wrote a song and arrangement that grew around that melodic idea."Jazz at Le Duc de Lombards, Paris reimagined by micca. 

Live jazz from one of Paris' top night spots, Le Duc des Lombards - the excellent quartet The Hookup (Geraldine Laurent, Noé Huchard, François and Louis Moutin) entertain us with a great piece. Recorded in Paris, France in February 2026 by Cities and Memory. 

The maghrib call to prayer at 6.45pm from the biggest mosque in Marrakesh, the towering Koutoubia mosque. Recorded in Marrakesh, Morocco, January 2026 by Cities and Memory. 

|Drummerrss "connects two operating systems: the idea of land, territory and borders, rooted in the ground, and the idea of a spiritual belief system, with a different set of rituals, codes and rules. Both systems are crucial to the formation of individual and collective identities. In Drummerrsss, the connection and friction between them evolve through rhythm and beat: this can be fruitful, but also lead to conflict." Large video screens across the space depict one drummer inside a hole in the ground, and another being lowered down from above on a suspended platform. The drum sounds reverberate around the space. Recorded at the Jewish Museum in Berlin, Germany in September 2025 by Cities and Memory. 

"My composition for the Cities & Memory Spring Project, For Patience Joins Time to Eternity, draws on a field recording of the Maghrib call to prayer, captured at 6:45 p.m. from the Koutoubia Mosque in Marrakesh, Morocco. I was drawn to this recording for the haunting, resonant quality of the voice, as well as its poignant relevance to contemporary events unfolding across the Middle East."As tensions in the region intensify, the work incorporates gradually evolving synthesizer drones and layered textures that mirror a sense of mounting unease, while also seeking moments of stillness and reflection. The Maghrib adhan—the Islamic call marking sunset and inviting the faithful to the fourth of the five daily prayers—provides both a structural and symbolic foundation. Traditionally beginning with the phrase “Allahu Akbar” (“God is Greatest”), the call unfolds as a melodic and contemplative invocation."In this composition, the adhan becomes both source and metaphor: its echoes are transformed and extended, suggesting multiple layers of meaning across time and space. Ultimately, the piece aspires, like the prayer itself, to offer a sense of calm and a quiet gesture toward peace."Koutoubia mosque call to prayer reimagined by Jeff Dungfelder.

"I really liked the reverb of the recording. Hearing the echos of the space and the sound of footsteps as people took in the performance was special. I took the recording and put it into Convology XT to use the space as a reverb and played some notes using DecentSampler and Vital vsts."From there, I took the sound and stretched it and added more reverb effects to it to boost the sound. Throughout the piece, the field recording plays so that the sound of existing within the space can shine. I loved the idea of utilising space as the medium itself, with the drummers existing above and below one another." Drummerrsss installation in Berlin reimagined by ellipses.

A recording of lapping waves from Serifos island, Faros, Greece, by Agapi Zita.

Attention please! Attention please! The sound of the emergency alarm being tested in an empty shopping centre - shades of post-apocalyptic movies or Dawn of the Dead, as the emergency announcement echoes out across the cavernous space, which is deserted this early in the morning.Recorded in Oxford, UK in November 2025 by Cities and Memory. 

"By filtering the waves to focus on the deep, rhythmic pulse of the water, I've made out a space for the ethereal pad.Its a place where the digital and the organic blur into one."Waves in Faros, Greece reimagined by Substak.

"he Westgate shopping centre is deserted and subject to an unknown threat that must be dealt with by: seeing, saying and sorting. There is the ticking or an unreliable clock and the mixed up sounds of a public announcement that will be familiar to users of UK railways."Westgate Centre alarm, Oxford reimagined by Roland Pyle.

"In this piece I created an ambient soundscape on top of the initial recording this was to add to the relaxation of the waves slowly crashing against the shore."Koh Rong beach in Cambodia reimagiend by Jake Edwards. 

"I composed this piece imagining the observational or listening perspective of the field recordist Anders Vinjar in the Bamiyan Valley in Afghanistan, after decades of war in Afghanistan. The recording is from inside the upper part of Shah Mama, near where the head used to be. "While composing I tried to imagine the vastness of the region and the passages once used by monks moving through the statues and surrounding caves."Soundscape from Shah Mama, Bamiyan Valley reimagined by Atul Giri. 

Peaceful ambient sound from the Bamiyan Valley in Afghanistan, post 45 years of war in Afghanistan. Recordings from top of inside Buddha Shah-Mama, where the head used to be.Recorded in Bamiyan, Afghanistan by Anders Vinjar. 

"In this piece I wanted to make an ambient soundscape layering different textures on top of the recording. To make a composition the listener can just zone in to."Borneo rainforest reimagined by Jake Edwards.

This beautiful recording of nocturnal crickets in Ghana opened up the night to me - I wanted to create a piece that had something of the warmth of a long summer evening, gazing up at the infinite sky as the crickets sing. The arpeggios grow and develop, with more instruments entering throughout the piece, representing the growth of the cricket chorus as more and more insect voices join the song each night.The title is from an Emily Dickinson poem, "The cricket sang":The cricket sang,And set the sun,And workmen finished, one by one,Their seam the day upon. The low grass loaded with the dew,The twilight stood as strangers doWith hat in hand, polite and new,   To stay as if, or go. A vastness, as a neighbour, came,— A wisdom without face or name, A peace, as hemispheres at home,—    And so the night became. 

Faint cricket chorus at night, Ghana. Subtle night activity of crickets in a suburban community in Ghana. Human movements, voices, autos and textures can be observed in distinctive stereo fields.  Recording format: Binaural. Please wear headphones. Recorded in Koforidua - Bonya, Ghana by Samuel Kudjodzi.

"The core of this reimagining lies in the steam engine's rhythmic inconsistency. I wrote this piece after listening to the sounds of an uneven, mechanically gasping engine: an exercise in translating industrial unpredictability into a structured yet fluid composition. "The process mirrored the engine's own struggle - a push-pull between rigid mechanics and the faltering quality of a machine that isn't quite running true."Steam engines at Coleford Festival of Transport reimagined by Philip Gibbs.

Stationary steam Eegines at the Coleford Festival of Transport. The stationary steam engines at the Coleford Festival of Transport always attract attention with their mechanical symphony of rhythmic chugging, the high pitched hiss of steam, and the clanking of rods and flywheels. The sounds of this engine were particularly beguiling. It sometimes faltered, and for a moment it seemed like it would stop and die, only to start up again with renewed vigour.Recorded by Paul Stephens-Wood.

Artists in conversation with the Pitt Rivers Museum curatorial team at the Century of Sounds launch event in Oxford on 27 February 2026. Featuring: Ilaria Boffa Salma Ahmed Caller Neil Spencer Bruce Panel presented by Philip Grover, Pitt Rivers Museum A Century of Sounds is a partnership between Cities and Memory and the Pitt Rivers Museum, inviting listeners to explore compositions created by 100 artists from a century of incredible recordings from the museum's sound collections.Explore the full Century of Sounds project at https://www.citiesandmemory.com/century-sounds

Artists in conversation with the Pitt Rivers Museum curatorial team at the Century of Sounds launch event in Oxford on 27 February 2026. Featuring: Laura Irving laura dymphna Nick Drake Panel presented by Christopher Morton, Pitt Rivers Museum A Century of Sounds is a partnership between Cities and Memory and the Pitt Rivers Museum, inviting listeners to explore compositions created by 100 artists from a century of incredible recordings from the museum's sound collections.Explore the full Century of Sounds project at https://www.citiesandmemory.com/century-sounds

A Century of Sounds feature on the Battiti show on Rai Radio 3 in Italy, broadcast on 26 February 2026. Featuring:- Drawn to the circle by Ana Habesh- Mwana wevhu by Ndinibeatz- Kinnaur calling by Sonic SomaPlus discussion of the project and our partnership with the Pitt Rivers Museum. 

When I first heard this recording of men gathered around a guitar, singing fragments of traditional songs and inventing lyrics on the spot, with women and children laughing in the background - it hit me: music isn't just sound, it's connection. It's a reminder of the timeless beauty in coming together, sharing stories, passing down traditions, and creating something meaningful in the moment.Curious about what the singers were saying, I reached out to people from Central Africa, and the response was surprising - those improvised lyrics were built from single words in regional slang. In this kind of music-making, it often starts with one word, then another, and before you know it, a whole verse is born. It's spontaneous, alive, and beautifully organic.For my remix, I used the main melody of the original field recording as the foundation, blending in those improvised words as fillers. I also incorporated the traditional rhythm of Soukous - a guitar-driven genre from Congo, often referred to as Congolese rumba, which mixes Afro-Cuban folkloric influences.Just like our ancestors sang around the fire, united by song, we too continue this tradition today - whether around a campfire or through modern technology, remixing old recordings into something new. Music is more than entertainment; it's a bond, a message, a celebration of community, and a bridge to the past. From kings sending musicians ahead of their armies to show unity, to modern-day communities of music lovers sharing sounds across the globe - we keep passing the sound from generation to generation. And that's what keeps us together.Afternoon beneath a palm shelter reimagined by micca.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

This piece is built around a field recording from the sound collections of the Pitt Rivers Museum of Berber beggars singing for charity.Listening to this recording, across time, what struck me was not difference but familiarity. Themes of begging, homelessness and poverty recur in traditional songs from all cultures, spanning the centuries. Despite differences in place, language and technology, poverty, hunger, social injustice, and the vulnerability that comes with these things, remains constant.Through my organisation in Whitby, Flash Company Arts, I frequently work with people experiencing homelessness and fragile economic circumstances. Hearing this recording, made more than 60 years ago, felt uncomfortably relevant to my daily work. These voices could belong to anyone, anywhere, right now.The lyric “A Begging I Will Go” is borrowed from an ancient English folk song, first printed on a black-letter broadside in 1684. And still today, all over the world, people wake each morning to the same words: A begging I will go.Nothing changes.Beggars singing for charity reimagined by Rebecca Denniff (Subphotic).———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

"Sapeh (type of three-stringed boat lute) being played": the instrument was recorded in Sarawak by collector Leslie Bennett.From the sound collections of the Pitt Rivers Museum, University of Oxford, being one of a small number of recordings of the musical instruments in the institution's collections being played or discussed.Recorded by W. Leslie Bennett.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a collection of reel-to-reel tape recordings of Berber (Ait Haddidu) music and soundscapes made by members of the Oxford University Expedition to the Atlas Mountains of Southern Morocco in 1961.Recorded by Audrey Butt, Michael R. Emerson or Ralph Hudson Johnson.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of cassette tape and digital audio tape recordings of Bayaka music and soundscapes made by ethnomusicologist Louis Sarno mainly in the Central African Republic (and the Republic of Congo) between 1986 and 2009.Recorded by Louis Sarno.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

I listened to the piece and researched any historical links between Plymouth, my home town and Sarawak, were the original recording by Leslie Bennet was made. It turns out there were three white "Rajahs" of Sarawak and they were members of the Brooke dynasty: James Brooke, who founded the rule in 1841; his nephew Charles Brooke, who succeeded him; and Charles' son, Charles Vyner Brooke. Although not from Plymouth, all three of the “Rajahs of Sarawak” are buried in the small churchyard of St Leonard's at Sheepstor on Dartmoor, just outside of Plymouth. James Brooke did at one time set sail from Plymouth in 1838, arriving at Sarawak the following year.The name for Sarawak means the land of the hornbill. This piece is an ode to this journey. I listened to the recording of the Sapeh and learnt the rough pentatonic scale used. I isolated a few segments and tried them on guitar to get the ideas flowing. The recording of the Sapeh is sampled and utilise throughout the piece. At times I have used it to double the bass line or to give a new melody line or rhythm.The main “nautical” melody is built upon a four bar segment of the original recording. The clicks and resonance of the instrument are also used to give some ambience and texture. I have used acoustic guitars, hand drums, mandolin, electric guitars, sequenced midi instruments and drums using GarageBand. I also used open source recordings of seagulls in Plymouth and Hornbills in Sarawak.Sapeh (three-stringed boat lute) reimagined by Daniel Chudley - Le Corre.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds