Cities and Memory - remixing the sounds of the world

"My first ever Cities and Memory track was a response to a very similar recording; that one, too, featured chimes. For that first track I re-sequenced the ringing and built my response on that 'quantised' structure.  "Some five years on I have changed very little to this original recording, leaving most of the irregularity in the ringing in place and working with and around its rhythm, embracing the imperfections and allowing some push and pull between the recording and my response. "In building my response I have worked much like I often do; searching for anything the recording insinuates, singing back to it and composing as I go along." Untuned Bell installation in Oslo reimagined by de Velden.

The Untuned Bell sound installation in Radhusplassen in Oslo. This 1.4-ton bell (anno 1949) was removed from the bell tower of Oslo City Hall because it was no longer in tune with the other 48 bells.  The artist found the bell lying silent on the ground and restored its voice. From its new home on Radhusplassen, here outside the City Hall, the bell can once again interact with the bells in the tower. By putting your foot on a Cry Baby wah pedal nearby, you can activate the untuned bell.  Recorded in September 2025 by Cities and Memory. 

In McCaig's Tower, overlooking the bustling harbour town of Oban, finches call out from all sides as we walk around the inside of the tower walls, while the hum of the harbour rises up the hill from below us. Recorded in Oban, Scotland by Cities and Memory in April 2025. 

"The piece takes its cue from McCaig's Tower in Oban, Scotland—not as an architectural curiosity, but as an acoustic world. It begins and ends with the finches that inhabit the open structure, their calls forming the work's natural frame.  "The music moves through evolving motifs: a peaceful drone and the suggestion of bagpipes represent the quiet of the unfinished enclosure overlooking the town and bay of Oban and a little of the builder's proud, almost overreaching ambition; a more measured, tread-like pulse created from footsteps in the field recording, suggests generations of visitors drifting through the space; and a light, agile texture depicts the birds' restless motion.  "Finally the pipes return as grandeur brushes against melancholy. The finches, ever-present, attend to their own concerns." Finches in McCaig's Tower reimagined by Martin Gregory.

"In approaching the project I was struck by the evocative and ethereal quality of the original recording, in particular the call to prayer, and have tried to retain that in the three sections of this piece. There is also a timeless quality to the original, which I wanted to retain and develop. "The piece is intended to present those sounds in different yet related contexts; the first section is melodic, while the second darkens and the third tends more towards the filmic or abstract (it hasn't ended up as abstract as originally planned!). Each section is distinct in nature, yet at the same time bound together by the use and reuse of the original sample material, running through the entire piece and providing continuity. "In the first section, I have taken a cut of the call to prayer in the original recording, which has then been pitch-shifted to fit in the key of the piece, which was based on the interplay of the opening electric piano arpeggio and the call to prayer sample. I have also taken elements of the background talk and added these as a sonic bed for the other musical elements to fit around, as well as treating and harmonising the samples to create depth. "In the second section the same call to prayer is used, but this time detuned and reversed, along with some sounds and elements from the first section. The third section also contains a sample of the motorbike which cuts through the middle of the original recording, and which has been sampled and used as a percussive sound to provide the rhythmic element. I have also added some of my own field recordings here, as well as library recordings of people reading poetry in various languages, to create a bed of voices, which swim in and out of focus and underpin the original sample. At the end of the third section, the original, unadorned sample closes the piece." Technical info: Recorded / sequenced in Reaper VST instruments: Universal Audio (various), Native Instrument Massive X synth, Spitfire Audio Labs (various), Decent Sampler (various) VST effects: UAD, Native Instruments Additional field recordings made on Zoom HN1, built in microphones Public-domain poetry samples sourced from https://archive.org/details/librivoxaudio   Bang Phat soundscape reimagined by Mark Gordon.

A call to prayer at the Bang Phat floating village in Thailand, known for its "floating" houses on stilts and a simple fishing community. Recorded by Jake Edwards. 

"I used the cuckoos as a backdrop for a story about death in the forest, of disappearing back into the earth and how that would feel. I wanted it to sound sort of dreamy and slightly off balance." Cuckoos in Tomintoul, Scotland reimagined by Dermot Fitzsimons.

A soundscape of a particularly misty morning, recorded at 4.12am during late spring from the observing window of the Tomintoul Bird Hide. The hide sits on the edge of the highest village in the Highlands of Scotland.  The calls of cuckoos create an eerie presence that gives depths to the length of the surrounding valley. Along with the days awakening dawn chorus, loud insects chirping, a brash pheasant interrupts the scene as well as slight interior noise from the bird hide. Recorded by Rachel Larsen-Jones. 

"Beneath the swell, she echoes emerged from Marcelo Carneiro's evocative field recording of the Iemanjá Day celebration—its textures, rhythms, and atmosphere opened a doorway to memory. I was drawn to create it through a long-standing connection to Brazilian music and culture. Many years ago, while singing with a Brazilian percussion group in Scotland and collaborating with Brazilian musicians and dancers, I learned a chant to Iemanjá—the mother of the sea. I have reimagined this chant among the waves, voices, and living pulse of the celebration. "The track carries that lineage: the swell of water, the pulse of distant drums, and the enchanted movements of a water spirit echoing between drifting textures and electronic sound." Praia Vermelha, Brazil reimagined by Aileen Ogilvie.

This is the first edition of a recording I've made in the 2024 summer afternoon at the beach. It was made at Praia Vermelha (Red Beach), Urca, Rio de Janeiro, Brazil. It was a hot weather, the beach was crowded: children, families, young and elder people, vendors selling drinks and refreshments (water, cold mate, coconut water, popsicle, and so on). People are talking, laughing, shouting. Waves are breaking continuously on the sand.  Recorded in Rio de Janeiro by Marcelo Carneiro de Lima.

"The sound of a train in the distance on a quiet beautiful morning makes me think of possibility and freedom. But I was thinking about how others may hear something different, or it might not be a positive association for everyone, depending on how free you are, or what's truly possible. In the old days I had an idea of America and its wide open spaces as a place where people were free and everything was possible. Maybe it still is and maybe it never was.  "There's a little musical sound, some kind of alarm maybe, that I brought into the piano part. The sound isn't quite tuned to the notes of the piano, and you can hear it in slightly different keys, and as major or minor. I tried to build on that sound to create a thread through the music, but use the ambiguity it creates to allow a couple of changes of direction, between uncertainty, hopefulness, and melancholy."  Savannah Garden City soundscape reimagined by Andrew Hayes.

It's early morning in what seems to be a quiet suburb of Georgia. People are still asleep, but you the rumble of industry never stops, cars flying down nearby highways and the signalling and occasional hoots of trains passing through. The birds wake up and follow suit.  Garden City is a city is known for its industrial hub and proximity to the Port of Savannah. The rumble of trains reminds you of this in the early morning in what would appear to be a very leafy suburb, with long verges, and tall trees.  I spent a few nights in Savannah Garden City while visiting Savannah during Autumn 2023.  Recorded by Marg Laing.

"This piece struck me because of the background drone of echoed speech and mechanical sounds with some melodic content (possibly an elevator chime, since looking into the site I found that the Hannover Rathaus has a well-known arched elevator that curves with the dome of the building).  "I built the fundamentals of the piece around those notes and some audible German and English phrases, including the unlikely phrase that serves as the piece's title. Somehow during the process, I got the notion that this was a Christmas ghost story; some of the wall of noise in the middle section is made up of a drowned spoken word piece, from a “cut-up” of the snippets of speech in the original field recording and phrases from my research into the location." Neues Rathaus, Hannover reimagined by John Savarese.

A soundwalk around the heavily-reverbed impressive interior of Hannover's Neues Rathaus. Huge, reverby echo caused by the voices and footsteps of just a few visitors.  Recorded by Cities and Memory, May 2025. 

"Scotland has always had a strong pull on my imagination and I've always wanted to visit. This sound file was my first choice from the many offered by Cities & Memory for their Autumn Project. Coincidentally, this past summer, while vacationing with my family in Assateague, Virginia, I made a recording of the ocean shore while standing on the beach. When I began the Autumn Project, I decided to use both as a sort of bridge between my real life in the United States and my imagined life in Scotland.  "Most of the music here was from an ambient piece I came up with during a Sunday morning session a week or two ago. My working title for it was Midnight Mariner. Other sonic elements added for this new piece evoke the bell of a buoy rolling in the waves, the ethereal singing of the Cocteau Twins' Elizabeth Fraser, and a muffled, indistinct drum pattern that sounds as if it is being played underwater.  "This submission was composed/assembled on my iPad inside the host software app AUM. I used a variety of iOS instruments and effects singly and in combination, including apps by Klevgrand, Bleass, Baby Audio, Audio Kit, Octachron, Fugue Machine, and Bram Bos. Some mixing was done automatically using MIDI controllers and LFOs, and some manually with a NanoKontrol2.  "Playing throughout the piece are two seashore sound recordings that complement each other nicely. The original sound file from the Isle of Skye is panned slightly left, and a similar sound file recorded while vacationing with my family at the beach in Assateague, Virginia, is panned slightly right." Waves in Elgol, Skye reimagined by daddy fall down.

A dawn soundscape in the heart of Vietnam's lowland forest, where the awakening of countless birds marks the start of a new day. The air fills with the diverse chorus of chirps, calls, and rustling, as various species gradually come to life. Cat Tien Park, Vietnam recorded by Rafael Diogo.

"For this remix, I pulled out the most musical fragments of the original, like the bicycle bells, and turned them into looping motifs, then built an entirely new drum and bass track beneath them. I also reshaped the vocal sample into another loop and wove in select sound effects, like the crowd noise and a car starting, to preserve the atmosphere while giving the piece a fresh identity." Drum and bass at the 420 parade, Vienna reimagined by Rebecca Goldberg.

This is the recording I made by complete accident - we were coming back home with my girlfriend and when we came out of the metro station we heard loud music from behind, so we went to see what it was. I remembered that I'd seen the posters around town about the Drum and Bass on Bike event, which was supposed to be in support of the general 420 parade (cannabis legalization movement in general), and that was it. I quickly turned on my Tascam recorder and recorded what I could, as it was quite an unusual soundscape for the area and the time. Recorded in Vienna, Austria by Tomasz Buga.

This is a brief recording in May 2022 of the music from Jane's Carousel in Brooklyn, NY. I was just looking up the history of the Merry-Go-Round, which was built in 1922 for the Idora Park amusement park in Youngstown, Ohio. So, by sheer coincidence this recording was made 100 years after the creation of the carousel. Recorded in Brooklyn, New York by Bill McKenna.

"Resampled bit of carousel from my former home of Brooklyn gets a new life as this plaintive melody." Carousel in Brooklyn, New York reimagined by Anne Pope.

The March of Light 2025 (Ukraine Support Demonstration in Vienna)  This recording illustrates one of the crucial parts of the March of Light demonstration, which is basically a flash mob based on people showing and hiding their phones with flashlights turned on, which is then shared on social media to draw people's attention to the whole event, which is to support Ukraine in its war against its aggressor - the Russian Federation. The video with the results of this flash mob can be found on the Instagram of mrija_org. The sounds in the recording are people raising and lowering their hands, and also people talking, cheering and chanting the most popular phrase "Slava Ukraini, Heroyam Slava" ("Glory to Ukraine, Glory to Heroes"). Recorded in Vienna, Austria by Tomasz Buga.

"The original field recording captures a street choir singing hymns. I transformed this material by processing it into dense, evolving layers of sound. One layer stretches the recording in time and feeds it through the Elta Music Solar 42F, allowing the choral textures to dissolve into a shimmering, otherworldly drone.  "The result is a slow-moving, contemplative, and meditative soundscape that reimagines the choir's presence in a new sonic frame." Ukrainian Easter celebration in Vienna reimagined by Thomas Haighton.

"The bird sounds of this recording have a particular cadence and repetition. It inspired me to create something that was more solid and continuous to accompany it. I created a drone composed of 4 sounds that intertwine with each other progressively.  "This piece contains a binaural base frequency of 3.2 Hz so it is encouraged to listen on earphones to get the optimum effect. The piece is also tuned to 432Hz. And I played a Erhu on top of it. I mixed it very wide for a very profound and immersive listening experience.  "I loved creating this ambiance feeling how it would be to be one of these birds living and flying through Asia.' Cat Tien Park, Vietnam reimagined by Tamara Montenegro.

Inside a sea cave on a Cornish beach, recording dripping waves on different surfaces and at different distances, onto rock, into small puddles and directly onto sand, while the roar of the sea waves continues outside the cave.  Recorded in Mawgan Porth, Cornwall, England by Cities and Memory, April 2025. 

Cicadas and katydids singing in Dingmans Ferry, Pennsylvania, 9 Aug 2013. This is a recording of the intense sounds of cicadas and katydids singing in the deep night. The recording was made using two condenser microphones in stereo array through a Mackie 12 track board directly to digital.  Recorded by Dan Bodah.

"Salt water reverberations and soundscapes are a daily and necessary embodied element of my life by and on the Pacific Ocean in Santa Barbara, Southern California. As a woman from Britain living in SoCal, I connect with the sea caves sounds in Mawgan Porth, Cornwall, England, being soothed and inspired by the rhythms, pitches, textures, and timbres of water drops, accompanied by the constant roar outside the sea caves.  "With Cornish marine sounds I have added my daily ocean soundscapes: slaps of waves on my coastal rowing boat; sea lions barking on bell buoy (slightly muted by the bodies of sea lions bodies) marking the safe harbor entrance; a train on the nearby shore; little Ourn, a homemade 18-foot wooden sailing boat built in 1931 by a 15-year old lad from Eling, Southampton, England, splashing through the waves at 5 knots in the Pacific Ocean near Santa Barbara (and low-tech wind sounds without a wind screen to reminder listeners that sail boats by necessity play with wind power).  "Perhaps these aquatic reverberations can offer some solace and connection with salt water surroundings; and senses of stewardship for protection and conservation of water lives." Sea cave at Mawgan Porth reimagined by Ruth Hellier.

"For this year's Autumn Project, I was excited to have the opportunity to work with a sample collected near my original home.  "“An Intense Calling” is field-recording-based piece based on a recording of cicadas and katydids in Dingman's Ferry, PA collected by Dan Bodah. Growing up near the Delaware Water Gap on the other side in New Jersey, I was excited to think about both the feelings this recordings evoked in me, my memories of when I've heard the cicadas. I've combined this with my own recording of cicadas taken in NJ in Summer 2025 to create a conversation between the original sample and my experiences. I used additional field recordings that evoke my place-based memories, vocalizations on the lifecycle of cicadas, the idea that cicada sound can be both overwhelming and melodic, and potential conversations between broods to create the final piece. The title of this piece references both the aforementioned overwhelming experience of the cicadas and my own pull towards creating/capturing/manipulating sounds.  "Additional field recordings of cicadas, frying pan percussion, and water collected by artist. Vocals performed by artist. Additional digital synthesis created in VCVRack2, track created and recorded in VCVRack2 with reverb and delay effects added to field recordings and original sample." Cicadas at Dingmans Ferry reimagined by Stephanie E. Vasko.

"As soon as I heard the drum recording, I wanted to do something with it in the spirit of break chopping/dj tools. I love lots of 70s/80s/early 90s straight sample flips & it was an unusual opportunity to try something similar without butting up against copyright issues.  "I chopped up the recording, added a little in the way of effects, and supplemented a simple electro beat.  "I enjoy listening to it, & for me it's reminiscent of weaving through the energy of the very same square with my brother in my late teens, over-caffeinated from the delicious coffee they served in the cafes overlooking it." Marrakech traditional musicians reimagined by Andrew Tulloch.

Possibly the most visited spot on Skye are the Fairy Pools, a long chain of pools and small waterfalls coming down from the mountains - a truly stunning spot. We visit after most tourists have left, at around 8pm in the evening, to capture some close-up sound recordings without the presence of tourists.  Recorded in Skye, Scotland by Cities and Memory, April 2025.

A video installation called "Ever Is Over All" by Pipilotti Rist (1997), at the Neue Nationalgalerie in Berlin - haunting music loops over and over, while in the video the artist walks along the street, then smashes car windows using a model of a large flower.  Recorded by Cities and Memory, September 2025. 

An extract from a soundwalk around this water feature in Hyde Park, London. It's an oval granite channel measuring between 6 and 10 meters wide, and about 50 by 80 metres in diameter. Water flows across a varied surface cut into the granite, creating calm ripple sounds, fast torrents, turbulent bubbling…  Recorded by Paul Wheeler.

Wuhan's night markets are famously vibrant, but Changti Street's night market recording was chosen for its contrast with the afternoon one, highlighting shifts in life's rhythm and atmosphere. In this recording: nearby voices shift from passersby to seated diners, more stable; the next layer of pedestrians chat while walking, dynamic.  In the mid-to-distant background, restaurant workers and vendors shout, grills sizzle, loud exhaust fans rumble, and diners in narrow alleys clamor. The interplay of motion and layers creates a kaleidoscopic soundscape, starkly contrasting the afternoon's constant flux. Recorded in Wuhan, China by Digimonk. 

"This field recording put me in mind of the anxiety and sensory overload one can experience in crowded public spaces like the night market the original captures. The horns of cars, beeping of cars and cacophony of noises from busy stalls are transformed into abstracted noises, barely legible as their original forms, and the voices of workers and customers come in and out of focus, creating their own music detached from the meaning of the actual words being spoken. "My reworking is an attempt to capture and distil those feelings into frozen moments, unnerving and darkly compelling in equal measure. The unease of neurosis and social discomfort can provide its own soothing familiarity for those long-acquainted with its presence." Wuhan night market reimagined by Rowan Allen.

'Since moving to London, I have been continuously tuning myself to the frequency of this city. "Melodies generated by four automatic systems based on different musical scales, field recordings, and my own voice sometimes connect, intersect, conflict, and harmonise. "Lost in different frequencies, I am still searching for a way through." Diana memorial fountain, London reimagined by Miya.

"Field recording of Pipilotti Rist's "Ever Is Over" performance piece deconstructed via various granular processes." Video installation from Neue Nationalgalerie, Berlin reimagined by Scott Lawrence Whitman.

"This piece was made from a selection of time-stretched samples of gaps between the rushing water in the original field recording, layered and manipulated to create an ambient soundscape. I have had the pleasure of swimming in the Fairy Pools in the past, and was inspired by the uncanny and liminal nature of sounds and ambience when heard underwater.  "I particularly focused on the pseudo-vocal elements of these stretched samples, leaning into the simulation of ethereal laughter." Skye Fairy Pools reimagined by Helen Hawa-Diggle.

" Boscastle, such a beautiful magical place, set in a deep valley carved out by the river, with jagged cliffs covered in emerald & drifts of Sea Pinks & white Campion, where the sea birds nest. The buildings growing out of the cliffs in slate & killas. The slate slabs & cobbles trodden into forms of memories for hundreds of years.  "I was inspired by the Boscastle field recording because of my deep connection with the sea & the place itself. I lived nearby for many years. I was there at the time of the awful flood. My connection deepened when close friends I'd worked with creatively on the east coast journeyed down to meet me.  "High on the cliff path, a lone bench overlooking the harbour became a sacred meeting place for us for years afterwards. it was a spiritual experience & it felt like a magical circle or spiral of elemental connection. "I added one of my own field recordings of dropping pebbles into the harbour & seagulls on the wind for its haunting quality to complement the original recording and then tried to capture the movement, spirit, feel and emotion of the original with guitar and keys compositions which I then layered around the beautiful recording of the water to create a feeling of sacred space & journey." Boscastle harbour reimagined by Julie Woolmore.

Light waves breaking on a stone boat jetty in the very small one-boat Boscastle harbour in Cornwall on a sunny August afternoon. Recorded by Cities and Memory, June 2025. 

"This composition is built from a field recording of a waterfall in the Lake District by Rob Parton. The waterfall has a broad spectrum of frequencies decaying and emerging; a metaphor for autumn: as each droplet's resonance fades, new ones emerge, echoing nature's descent into winter, its long sleep and quiet preparation for spring.  "The piece features a vocal sample of Karen McCarthy Woolf reading from her poem Conversations with Water, her contemplative words reverberating through this honouring of water and the transformative season of autumn. "Using the Torso S-4, I gradually transformed the raw waterfall recording into harmonic frequencies, shaping it into a sustained, droning chord that I then mirrored on my harmonium to form an ambient composition. I layered in a guitar motif to introduce a sense of optimism as the seasons shift." Lake District soundscape reimagined by Helen Copnall feat. Karen McCarthy Woolf.

"The original source sound for this piece was from a bat echolocation detection device. So in this sonic interpretation, I aimed to create the feeling of reaching out into a mysterious, dark space of unknown size or location.  "The timbre is meant to be muffled and imprecise while the musical material is deliberate and approaching Baroque. I also bounced the original source sound between various audio and music composition softwares, relaying the message and having it change along the way–similar to a game of telephone. The rhythmic patterns were all taken for the rhythmic patterns of the sonified echolocation." Bat detector in Witney, England reimagined by Janae Jean.

"I was drawn to the call of the Rag and Bone man, and I thought of the man himself, beyond the call - and imagined my own best beloved Great Grandmother and the stories she told me of getting a Donkey Stone from the Rag and Bone man, and scrubbing her step clean.  "It must have been important to her, because she told me about it as though it were a ritual. So I wrote her song, as she might sing to him.  Maybe she called him Donkey Stone.  "Maybe she dreamed of running away and living a life on the road, returning to the ways of her ancestors before her, who were travellers.  "So this song is for Catherine Lightfoot - or Granny Dean as she was to me." Bream rag and bone man reimagined by Subphotic.

Annual "palio" games are common across Italy, in which the town divides itself up into different quarters, which then compete in a series of games over several nights - here, we listen to the first event, the tug of war, with several rounds between different teams all named after animals. We can also hear the nightly "campana della sera" evening bells at 9.00pm midway through the recording.  Recorded in Villa del Conte, Italy, June 2025 by Cities and Memory. 

"|Using SpectralLayers, I isolated the background noise and PA voice into distinct layers that were shortened and pitch-shifted with various effects to create a bed for the track. Then samples of the voice and background were chopped up and woven into a chilled-out ambient composition." Villa del Conte palio games reimagined by Karhide.

Every now and then a Rag ‘n' Bone man (scrap metal man) drives his van round my village in the Forest of Dean picking up scrap metal. It has been difficult to record him. By the time I've got the recorder out he's gone. This time I was lucky. The recording captures him passing down my lane, then the strident chatter of sparrows and the gentle hum of bees in the garden before we hear him again calling in the distance. Recorded by Paul Stephens-Wood.

The sounds of a bat detector converting bat echolocation calls into audible frequencies on a bat behaviour/nesting site survey in Oxfordshire.  Recorded by Giulia Biasibetti.

Finding a spot in Wuhu's city center that fit this recording project's theme was nearly impossible, but a sentimental taxi driver pointed me to Yuncao, a small town on the Yangtze's north bank. Water transport (caoyun) is the origin of Wuhu's name, hinting at stories embedded in the town's identity. Recently turned into a tourist spot, it was still free of visitors, with shops and residents all locals, unhurried and unprepared for tourists—perfect for my experience and recording.  I arrived during breakfast time, with few vehicles around. Shopkeepers sauntered to open their stores, and kids were nudged to school. Local women spoke loudly, sounding like they were arguing, but were just chatting about daily life. Without the hum of scooters, this scene could belong to any era past. Recorded by Digimonk.

Mountain Waters captures the sound of water flowing along the Stickle Tarn trail in the Lake District, near Stickle Tarn at the heart of the Langdale Pikes. The water moves over rocks and drops, creating a rhythmic, textured sound that reflects the natural processes shaping this landscape. The Lake District, a UNESCO World Heritage Site, is defined by its lakes and mountains, and this recording highlights the water that connects them. It provides a sense of place, transporting the listener to a key element of this heritage site. The sound was recorded using a Zoom H3-VR Ambisonic microphone and decoded to stereo. Ambisonic or binaural versions are also available for a more immersive experience. Recorded by Rob Parton.

Protest outside SOAS in support of Haya Adam - 26th September 2025. A Palestine-related protest outside SOAS, UoL, Bloomsbury, London. Haya Adam is a student who has led Palestine protests and was expelled from SOAS this summer. The first half of the recording has protest chants, the second half is a speech from Haya Adam. Recorded by James Errington.

A recording capturing the energised nature of Cape Town, complicated by the historic struggles that have defined the country. This was an autumn day, blue skies and bright sunshine. This was during my first trip to South Africa, where I had started visiting to uncover information about my South African family and dad, who died when I was very young. Recorded by Daniel Mackenzie.

Recorded on a summer morning in the middle of a beautiful rice field stretching as far as the eye can see. It felt like a magnificent sound installation, with crows and insects singing. Recorded in Niigata, Japan by Miyu Hosoi.

"This piece emerged kind of organically out of itself. It was rather hard to start to manipulate the original recording of Digimonk, because it was so beautifull in itself, technically and naratologically speaking.  "It turned out to become some kind of radiophonic storytelling piece." Wuhu old town soundscape reimagined by Sebastian Dingens.