Cities and Memory - remixing the sounds of the world

"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 melody. All the while Koko reappeared throughout my song, singing his soft staccato morning song by the sea. I let the field recording play to allow the chance encounters of the numerous bird calls interplay with the music. How lucky I was to hear the soaring sound of a seagull just as the song finished." Koruse beach, Estonia reimagined by Anna Tynsky.

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 human interference, this recording preserves a sonic snapshot of Estonia's coastal wilderness. Recorded by Jakob Rosin.

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 have been counted on several occasions, principally in summer, with the greatest count being above 50,000 birds. Despite the huge influx of international visitors each year, many residents in the nearby town of Leeton are unaware of the significant role played by “the swamp”. Fivebough was drained over a lengthy period in the mid-1900's, impacting on black box woodland adjacent to the wetlands, and belah, saltbush and boree woodland on the higher areas.  In the late 1970s Fivebough, along with nearby Tuckerbil swamp, became known for their birdwatching qualities.  Sometimes brolga can be seen “dancing” at these wetlands, which also serve as a breeding site for black swans. Recorded by Jason Richardson.

"I tried to play along with sounds of the swamp using a mix of analogue and digital electronic devices, which was a rewarding challenge, even if nature has all the best tunes, and the best instruments." Fivebough Wetland, Australia reimagined by Gareth Evans.

"I loved the sound of the running water. As I was listening I was imagining a fantasy world with magical sprites flying around the banks of a stream, the light from the sun changing the colors of the water as it moved through the banks of the mountains." Gran Sasso park, Italy reimagined by Firephly.

This recording features a hydrophone capture from the Gran Sasso and Monti della Laga National Park in Abruzzo, Italy. While exploring the area, I discovered a series of natural pools, waterfalls, and streams. The recording immerses listeners in the gentle sounds of flowing water, creating a tranquil and immersive experience that transports one to this serene location. Recorded by Rafael Diogo.

"First you hear the river, flowing, splashing. Then, when you listen closer, subtler sounds emerge, pebbles rolling, bubbles fizzing. In response to this soundscape, I created a virtual instrument from the field recording, allowing the river's voice to be played on a keyboard like a melody.  "A continuo rhythmic pattern flows throughout, varying with the terrain as the river passes through landforms of hills, fields and villages on its journey to the Thames. The river's song rises and falls with the composition's mood, and in the final moments, the sound ascends like rushing wind before fading out." River Windrush reimagined by Martin Gregory.

On a cold February afternoon in Oxfordshire, England, we record the sounds of the River Windrush flowing under an old English stone bridge, with the slight reverb from under the bridge arch throwing some of the sound back, and some detail of water flowing over rocks.  Recorded by Cities and Memory. 

"This beautiful recording of waves washing over tumbling stones captured my imagination immediately. The waves are infinitely soul soothing and the stones magical as they gently tumble on the shore line. "After listening to recording over several days I simply allowed the mesmerizing combination of sound textures to inspire my improvisational guitar solo.  I dedicate this piece to my loyal friend and constant companion Oliver, a Dandie Dinmont Terrier who recently passed away. "Safe travels my friend." Waves in Puerto de Valldemossa reimagined by Tom Thompson. 

Heavy waves dragging large stones back and forth on a wild beach at the harbour of Puerto de Valldemossa in the UNESCO-listed Serra de Tramuntana in Mallorca.  Recorded by Cities and Memory. 

"I have used the original recording throughout . The deer hooves act as percussion in some parts, the nightingale brings rhythm to sections and there is a repeated calling at the end of most phrases. "The idea is that each calling is bringing in the changes we see throughout spring. The idea for the tune is an evolving piece based on cycles , rebirth and metamorphosis. "It starts with the first morning in spring as a short song and then the main body, or day, is an instrumental piece with a recurring theme which blends into the evening of spring for the final chorus before summer breaks." Deer and nightingales in Nara reimagined by Daniel Chudley Le - Corre (Rhoald Earl & Emo).

We can hear the roar of deer and the chirps of birds (such as the Japanese nightingales). This recording signify the soundscape of Japan's forest. This forest is called Kasugayama Primeval Forest, and has been protected as a sacred area of ​​Kasuga Taisha Shrine since ancient times. In the quiet and sacred atmosphere, we can hear the threatening roars of the deer, which are believed to be messengers of the gods at Kasuga Taisha Shrine. And, this place is near my alma mater. I recorded this when I visited there about 10 years after I graduated. For me, it is a nostalgic soundscape.  Recorded by Nishikawa Yoshihiro.

Here is a 7 minute and 25 second recording of the sea, at Heywoods Beach in Barbados one warm and sunny evening in August of 2015. As someone with a visual impairment, it's sound, not images, that make my world what it is, so I aim to share that love with others by high-quality audio recordings wherever possible. This recording contains sounds of traffic, people having fun in the sea, the sound of the sea waves washing almost up to the feet of the tripod on which the recording equipment sat, some birds flying overhead, and a few other random noises. All of these sounds were captured using an Olympus LS-100, a Jecklin Disk and some cad M179 condenser microphones. Recorded by Andre Louis.

A summer rain falls over the backyard, drumming softly against the leaves and pooling in the grass. Distant rumbles of thunder roll through the sky, blending with the rhythmic patter of raindrops on the patio and the occasional drip from overhanging branches.  Birds call out between showers, their songs momentarily breaking through the hush of falling water. A light breeze stirs the trees, sending a soft rustle through the damp foliage. The earthy scent of rain-soaked soil and fresh greenery lingers in the air, wrapping the moment in a calm, almost dreamlike atmosphere.  It's a soothing symphony of nature, capturing the peaceful solitude of a warm, rainy afternoon. Recorded in Skopje, Macedonia by Toni Dimitrov. 

"I have never been to Barbados, but hearing the recording immediately summoned back memories of the first time I took my daughter to the ocean, and she stood there with arms outstretched with glee every time a wave crashed against the sand. Cherished, but tinged with the bittersweet taste of memory. The composition came very quickly while holding those images in my mind." Waves in Barbados reimagined by Jeremy Dickens.

"It does not care about the 6000-year-old human history of Skopje. It does not care what language is spoken or what religion is practised. It cares not if it is wanted or shunned, if it drenches the crops or is too little to quench the thirst of livestock. It falls on the rich and the poor and sometimes not at all. "I chose the recording of backyard rain by Toni Dimitrov because it sounds like any rain. I chose it because it is a particular rain. I chose it because once it rained over Skopje in North Macedonia. A place on earth that have had many rulers, none of which could rule the rain." Skopje rainfall reimagined by Eva Q Månsson.

"Various ciat lonbarde wooden synths guide the original field recording which I re-recorded onto cassette and manipulated live by hand to create a woozy dream sequence.  "Birds and voices are intermingled as the tape is allowed to snag, fast forward and rewind. The ciat lonbarde synths capture snippets of audio and playfully turn them into 8 bit micro loops as life plays out. Who will release the birds?" Kabul bird market recording by Anders Vinjar, reimagined by Andy Billington.

Intense sounds of birds and people inside Kabul's famous Ka Faroshi bird market, people doing their business as usual, post 45 years of traumatic war. This recording is part of the HEYR project, presenting 3-dimensional soundscapes from special locations, connected to special events. Find out more by visiting https://www.heyr.no Recorded by Anders Vinjar, 2025.

"I know I'm not alone in having many experiences of waiting for the bus. Sometimes anxiety-ridden and isolating, other times sweetened by the company of friends or a loved one. Either way, the bus brings to mind nostalgia, impermanence, and above all, connection. "My memories of waiting at the bus stop layer like patches in this track, tiny dots weaving through various recollections. A mental tug of war between the days events and future dreaming. The bus ride itself is like being in a cradle: the hum, the screeching, and the hydraulics coming together in it's own unique score. "Whenever I find myself waiting for the bus, I always feel simultaneously alone and connected. Linked, as if all of us passengers were bound together in a web of melancholy. These moments of waiting aren't passive: they're kids playing, thoughts running back and forth like a game of tag. The recording of children waiting for the bus brought to mind the transience of childhood and the idea of life as a journey. After all, as the familiar adage goes: “we are all just walking each other home.”" Children waiting for a school bus in Yamanashi, Japan reimagined by Aemi Kato-Cuarezma.

Autumn of 2024. An hour before sunset. In front of Kofu Station, the capital of Yamanashi-ken, Japan, a group of elementary school students (shougakusei) waited for the bus that would take them back home. Recorded by Gus - On Collector.

In this recording, you can hear Kailaya Vathiyam in Shivan Temple. People are crowding into the temple, and you can feel the Tamil Nadu temple ambience. Recorded by Gopinath Sound Engineering. 

"The sound recording is from a ceremony celebrating Shiva. Kailash is the home of Shiva, the god of destruction and renewal and considered the centre of the universe, and a stairway to heaven. "In my piece, I wanted to show the dual character of Shiva. I used the melodies of the sampled vocal calls and drums and echoed them on guitar and wind instruments.  I used Ableton." Chennai temple soundscape reimagined by Lynn Findlay.

In this recording, the mechanical vibrations of Rotterdam's iconic bridge,echoing the city's maritime heritage and constant motion—blend with the bustling acoustics of the surrounding waterfront. The rhythmic pulse of passing ships and the distant hum of urban life intermingle with the low drone of the bridge's support cables. This interplay of engineered structure and tidal flow offers a vibrant chronicle of transformation, decay, and rebirth—inviting listeners into a multispecies dialogue that spans industrial history and the elemental forces of water and wind. A unique environment with strong sonic signatures, the waterfront envelops you in a sense of deep listening through layers of time, even as the ever-present vibration of the bridge grounds you in the here and now. To capture this immersive soundscape, I used hydrophones to record underwater currents and hidden microbial activity, geophones to sense the bridge's low-frequency vibrations, and contact mics affixed directly to its support structures. Sensitive stereo microphones were also employed to capture the ambient clamour of the city, from seagulls circling overhead to distant horns echoing across the water. This recording reveals the layered sonic character of Rotterdam's landmark, where human engineering meets the raw spirit of a port city shaped by the tides. Recorded by Jamie House. 

"Jamie House's field recording, Rotterdam Bridge, reflects the impact of civilisation. There are endless noises of traffic in different tonalities and volumes. The sound of the bridge itself can be heard, as well as the sounds of nature — birds, water and the sea beneath the bridge. "The track "Rotterdam Dystopia" attempts to translate this complex system into music. Everything in this world is based on the sea, which therefore appears in the track. "The rhythm of modern life is played by percussion instruments derived from snippets of sound from the field recording, which are sometimes transformed. The musical content is also completely derived from the recording — chord progressions and notes were extracted and only adapted to fit the musical scales. "The track was built using these materials with the aim of conveying the disturbing and sometimes dystopian feelings already present in the field recording of the modern world." Rotterdam bridge reimagined by RabMusicLab.

The composition is a series of relentless sequences played over the field recording of the chanting. The sequences change over the course of the piece occasionally pausing (player injured?) before, like the chanting, continuing on its relentless journey.  The percussion sequences are made up from samples of the crowd mangled and chopped. Hannover fans at Hannover 96 vs. Greuther Fuerth reimagined by Simon Woods. 

At Hannover 96 vs. Greuther Fuerth, 11 May 2025 (final score: 1-1). Songs and chanting from the Hannover ultras throughout a significant chunk of the first half.  Recorded at the Heinz von Heiden Arena in Hannover, Germany by Cities and Memory.

"I spend a lot of time walking in the Scottish hills and associate certain sounds with my experiences of the landscape. There is one specific sound which I feel is synonymous with the Highlands; the roar of rutting deer. This evokes strong memories of mornings spent sitting on loch side rocks of a small Island called Carna whilst looking over to the hills of the Morvern Peninsula. As the sun rises, the distinctive sound begins, and I scan the horizon with my binoculars to search for silhouettes of stags on the mountain ridges.  "The recording of the rutting deer was probably the clearest and most powerful I had ever listened to, and I was instantly drawn to it. I imagined the societal structure of the herd, the etiquette of being allowed to participate in these ritualistic ruts and the point at which the young stags reach adulthood and are deemed worthy opponents for the alpha male.  "I wanted ‘Come of Age' to tell the story of the rut by introducing the older dominant alpha male and the younger maturing rival, whilst depicting them both travelling to the place of the conflict as they lock horns. The sounds of the rutting deer are included throughout the song to emphasise important elements of the narrative, introduce key characters and mark the point of battle." Red deer rut in Orleans forest, France reimagined by Simon Holmes. 

This recording captures the Red Deer Rut (Brame de Cerf) recorded in the heart of the Orleans Forest, the largest forest in France. This was the second year I recorded the deer rut at this location, and I had a good understanding of where the deer were active.  For this recording I had set up my mics and was standing in complete darkness about 30 metres away from my equipment when a very large red deer stag walked out in front of me. It stopped to look at me before continuing a few more metres, then began bellowing loudly.  Recorded by Colin Hunter. 

A walk along the Greenwich foot tunnel right underneath the River Thames. We descend in the lift, hearing the announcements, and walk the length of the long concrete tunnel, hearing cyclists whizz past and catching snippets of conversation from passing pedestrians, before emerging at the exit at the other end.  Recorded by Cities and Memory. 

"Taking the underground announcements and creating the echoing effects that you often hear in the tunnels of the underground using dub techniques." Greenwich tunnel, London reimagined by Dubberrookie.

In the summer of 2019, while sitting beside a small unnamed lake/pond, which friends and I called Crater Lake (because it looked like a crater), I was attempting to record loons in the late afternoon/early evening. Instead, a beaver swam around circling and splashing about near the nest of a pair of loons and their loonlets, messing with them far as I could tell. Thus, we get no loon sounds but some reverberating beaver tail whips.  The lake itself was situated where I was sat several meters from the shore nestled in an almost amphitheater type setting, and the recording reflects as much (especially when listening with headphones or a good pair of speakers). The frogs, songbirds set the stage for a sound rich environment, and the beaver tail led the way, so to speak, or at the very least, punctuated the recording with deep bass resonance.  Hence, the playful title I attributed to the recording. I find the tail whip sounds especially unique and felt serendipitous I was able to capture it - sounds of the northwoods at its finest. It remains one of my favourite nature recordings that I have made.  Chequamegon-Nicolet National Forest near Iron River, WI recorded by Tenali Hrenak.

"We travel through many sonic landscapes. Lately, I've been flying back and forth from Massachusetts to Wisconsin to help my elderly parents. I selected this field recording from from the north woods of WI (a shared past) paired with my own similar recordings from the deep forest in MA/VT (a shared present), and a nearby pond at the Clark Art Institute.  "In a sense this becomes an ambient travelogue. As we age and travel, there are many delights and familiarities, but also many unknowns, so I composed this piece to be both lovely and a little ominous, performing bowed bells, percussion, and modular synthesizer in addition to the field recordings." Chequamegon Nicolet national forest, Iron River USA reimagined by Gregory Scheckler.

"This piece is a personal journey through the experiences of being born and growing up on an island with complex cultural, political, and historical roots. I felt strong connections and disconnections between where I grew up and where I lived afterwards, realising that identity and belonging can continue to evolve in subtle ways. Making every moment of interaction with the space and culture dynamic, as the individual affects the space, and in turn, it affects the individual.  "I primarily used the recording allocated to me for this project for rhythmic and timbral purposes. In a sense, the selection of the recording was both informed by and, in turn, informed the piece that I was composing. It helped bridge the metal and soundscape genres with its natural timbre and rhythmic qualities." Fez medina work sounds reimagined by Berk Yagli.

This was recorded in Fez Medina in Morocco in 2008, I feel that this sound sums up not only the sense of place that one feels when inside the Medina, but it is seemingly a sound which defines temporal definition.  One might hear this sound at any point in the last 2,000 years, a unique soundmark, which also personally resonates with my own memories of that time in my life, the time in Morocco and also the feelings of hope and optimism for the future which seemingly seem distant in 2025. Recorded by Neil Spencer Bruce.

This recording captures the "Isha" call to prayer in the medina of Nabeul, Tunisia. "Isha" is the night prayer, and is announced after dark.  Nabeul has two main mosques in the medina, plus other call to prayers can be heard in the distance. The presence of space is well recognisable due to the various distances of the different Isha calls. Recorded by Colin Hunter.

The recording is made sitting on a pier by the Kukkia lake. One can hear waves under the pier and sounds coming across the lake but also insects. The contact microphone was placed on a floating metal plate on water and animals smaller than the eye could see were walking on it and made sounds. Recorded by Sirpa Jokinen.

"The piece was about seeking answers or at least a response and receiving silence. There is a resignation or even frustration that is represented with the ebbing and flowing of the instruments.  "Harmonium, guitar, saxophone, and Mellotron alongside a field recording of a call to prayer. Every time a melody would emerge, I would intentionally pull back as if the melody was an answer to the pleas from the instruments. It was challenging and somewhat frustrating, but I would audibly say “refrain” when things started to flow and bring that instrument to rest. This is a topic touched upon in Ingmar Bergman films: faith and silence." Nabeul call to prayer reimagined by Jeff Brown.

"Blossoming Wake was inspired by the field recording “By The Kukkia Lake” by Sirpa Jokinen. I was drawn to this field recording, which was made with a contact microphone, simply because I too have been using contact microphones to record outdoors.  "My sound sources consist of contact microphones placed in dead hollow trees (Clark Reservation, Jamesville, NY) and on a creaking gate (Three Falls Woods, Manlius, NY).  "Additional sound sources (made with a shotgun microphone) include rubber balls rubbed against a wooden sculpture (Stone Quarry Hill Art Park, Cazenovia, NY) and various water sounds (Crystal Lake, Benzie County, MI). All audio files used to create this “blended landscape” have been edited and processed in the studio using Cubase and Ableton." Kukkia lake, Finland reimagined by Edward Ruchalski.

Hydrophones at the bottom of a seasonal pond, in the ecologically rich Orchard St Marsh and Forest which is threatened by a developer who wants to build condos. Recorded by Matt Rogalsky.

"Like so many other areas, time is running out for the wetlands at Orchard Street Marsh, Canada. Development decisions are under review. To reflect this in my piece, I have kept the sound of the hydrophone from the original recording as a time clock.  "Accompanying, I have played layers of tenor recorder to represent the harmony of breath beneath the water. You will also hear the natural sounds of the wetland in real time; the fluid movements of carbon storage, flood control and biodiversity." Wetland in Kingston, Canada reimagined by Cheryl Beer.

This recording captures the sferic sounds from an electrical storm that occurred on 30.03.2025. The fizzes, crackles and zaps are from natural electrical phenomena, specifically broadband electromagnetic (EM) impulses caused by lightning discharges, that were detected via a homemade receiver I adapted from the Shortwave Collective's Open Wave-Receiver.  There are 3 recordings, the first half is prior to a power blackout, the second half is after - showcasing the atmospheric sounds without human-made EM noise. The third recording was taken with an ultrasonic mic capturing the rumblings and movements which provides the base notes of this piece. Recorded by Aliesha King.