Cities and Memory - remixing the world

A rare chance to hear the sounds from a community oven, which are in every neighbourhood in the city. People bring their bread dough, their tagine or whatever else needs cooking, pay a small amount of money and use the huge community oven to cook it. It's efficient, cheap, and it brings the community together - wonderful. 
Recorded in Marrakesh, Morocco, January 2026 by Cities and Memory.

Roadside stop on Route 66 in Arizona, USA. Richard J. Lovington memorial garden; sound of chimes, birds and occasional passing traffic.
Recorded by Mark Wilden.

"T'he road was there' uses a field recording made by Mark Wilden. The recording is of the Hackberry General Store, a famous road stop on Route 66 in Arizona, USA. I was enamored with the chimes from the field recording, which I filtered and fed through a series of delays and reverbs. The filtered chimes are accompanied by sine waves and my electric guitar."
Hackberry general store, Arizona reimagined by Chris Cresswell.

"I am an advocate of food sovereignty, and I believe that coming together around food preparation and consumption, in its most simplest forms, strengthens communities and relationships. 
"Combining this perspective, with the visual images the source sound provoked in my imagination, I chose to work with a field recording of a communal bread baking oven in Marrakesh, Morocco. 
"In the recording I was taken by the natural rhythmic quality of dough kneading, and this gave me an immediate way in - taking a few imperfect samples from these, as an earthy basis for my composition.
"I invited several friends to speak simple related phrases in different languages, (Czech, Thai, Spanish, Norwegian, French and German) - to emphasise a sense of connectivity and expansiveness in the piece and bring a feeling of incantation."
Marrakesh community oven reimagined by Suzi Lamb.

"The source material for my submission to this most recent Cities & Memory call is a field recording by Shaye Thiel, a New York artist whose medium is sound, hearing, perception, and the practice of attention. She is hard-of-hearing and these sounds were recorded with her hearing aids. 
"I chose to work with and reinterpret Thiel’s field recording because I really loved the description of her art and work provided in her cv [https://shayethiel.com]. I encourage you to read it! I first started making ambient/minimal music as a way to address personal issues with tinnitus, insomnia, and anxiety. I really took Brian Eno’s “as interesting as it is ignorable” quote to heart, because that sort of liminal music had personally provided me a lot of relief. 
"I’m interested in creating music that isn’t necessarily musical; that uses barely perceptible elements to draw attention or distract it; in which heard sounds or rhythms might actually exist or might simply be created by the convergence of other sounds, the cancellation of frequencies, or who knows what. As Thiel puts it in her cv, sounds that are “entangled, co-created and in constant negotiation.” 
"My piece was entirely created and assembled in Koala Sampler on my iPhone. 
"All melodic elements, however simple or complex, have as their root the same single wave cycle, sliced from somewhere in the nineteen-minute recording. 
"Some of the rhythmic elements are samples from the recording, and some are random noises from Fractal Bits."
New York hearing aid soundscape reimagined by daddy fall down.