Cities and Memory - remixing the world

"Lo-Fi River Flow reflects the landscape, the people, and the life unfolding along the river’s banks. The listening gradually narrows toward the movement of water itself, while remaining open to the presence of the animals that come to the river and live within its rhythm.

"The story begins at the edge of the current. At first the river feels like a distant presence — a continuous flow of sound moving through the landscape. But as listening deepens, the surface begins to reveal smaller events: water circling around submerged branches, sliding across gravel beds, whispering through reeds along the bank.

"With time, the river begins to speak in layers. Dawn arrives with the first birds calling across the water. The current shifts between calm and turbulence. Hippos move slowly through the river they call home, their bodies reshaping the surface of the flow. Further along the banks, baboons call across the valley in scattered groups, while distant Maasai voices occasionally rise and dissolve into the wider soundscape. At every turn, the river carries these voices differently.

"Gradually, more presences emerge. Animals approach the water to drink, to cross, or to rest along its edges. Their movements briefly intersect with the steady rhythm of the current before fading again into the surrounding landscape.

"What began as a study of water slowly becomes a listening to the life that gathers around it. The river is no longer only a flow of sound, but a meeting point — an ecological centre where movement, survival, and rhythm converge. In this way, Lo-Fi River Flow unfolds as a sonic story of the river itself: a living acoustic space where water carries both the voice of the current and the fleeting presence of those who come to it."

Section of the river Lech reimagined by  Karhide and Deep Dive Sound . 

-------

Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"This location of fish passage exhibits an imperfect balance as humans attempt natural processes, and while total success is not possible the effort is worthwhile. Water is clearly audible in the recording, and echoes reflect the human-created boundaries. Adding to these soundscapes of place, I introduce my own sounds, in the form of cello and vocals. All of the sounds in “Left and Right of Passage” originate with either the field recording, or my playing cello or singing, yet layers of reverb, tuning, and other effects birth myriad sonic identities.

"Examining the satellite data, the western side of the river seems very uniform and unvaried, whereas the eastern side appears more complex, intricate and waving. I am translating this asymmetry into the way the music is panned, and taking the perspective of the Lech River with “head” waters south (the Lech flows northward), and looking outward towards humans, the left side is stable and uniform, whereas the right side is intricately dynamic. “Left and Right of Passage” is structured as a double choir, with one choir (on the left) providing a consistent wall of sound, and the other (on the right) constrained but with movement. Melodies and swells of cello add to further complexity for the right choir, and a solo vocal dips in and out. 

"Channeling is a recurring concept in the river segment and this composition. The river used to be multithread with multiple channels, but has been strengthened and confined to a single channel. Fish are channeled to enable their movement past human energy production. In “Left and Right of Passage,” constrained movement is evoked in the vocals, particularly in the left choir but also in the right choir. The brevity of spurts of pizzicato and truncated melodies illustrate channeling in the cello. Segments of the original soundscape emerge unaltered (aside from volume shaping) at the beginning, middle, and end of the piece, emphasized by frequency constrained channels of the original soundscape. These are offset so that the original field recording can be distinctly heard, most notably at 18-50s, 1:12-1:55 and at 3:15 until the conclusion."

Section of the river Lech reimagined by Heather Spence. 

-------

Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"Flume investigates the acoustic behaviour of a regulated river segment through a post-cinematic compositional approach. The piece originates from a field recording made inside the concrete tube of a fish pass, where water striking the walls produces a narrow resonance between A and B♭. This unstable microtonal field becomes the structural centre of the work. Granular and spectral processes, sine tones, and slowly drifting accordion drones performed on two slightly detuned instruments reorganise the recording into an evolving acoustic space. Rather than depicting the site, the composition amplifies its latent resonances, pressure, and spatial constraints. 

Section of the river Lech reimagined by Anja Kreysing. 

-------
Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"The field recording and other materials immediately suggested a strong duality: natural flow versus human control. The description of a river heavily modified by channelization and reservoirs, combined with the image of a concrete fish passage designed to simulate natural conditions, felt deeply symbolic. The water moves peacefully, yet the echo reveals the artificial structure surrounding it. That tension became the emotional core of my composition.

"I began the piece using the field recording in its original, unprocessed form. At the opening, the listener hears exactly what was recorded: the calm lapping of water inside a human-made structure. This documentary moment establishes a sense of place and reality.

"From there, I gradually transformed the recording using granular synthesis. By fragmenting the sound into micro-particles and reorganizing them in time and space, I was able to stretch, disperse, and recompose the water’s movement. The contained flow begins to expand into something more unstable and textural — a sonic metaphor for the river’s suppressed geomorphic dynamics and its latent force beneath engineered control.

"Alongside this process, I used modular synthesizers and tape manipulation to build an evolving sonic current around the original recording. The modular system allowed me to create pulses, resonances, and subtle instabilities that mirror both mechanical intervention and organic persistence. Tape processing introduced slight imperfections and physicality, reinforcing the idea of friction between natural energy and imposed structure.

"The story behind the composition is not one of restoration, but of endurance. This section of the river is described as lacking natural geomorphic dynamics and without ongoing restoration plans. Yet water continues to move. Even when constrained, redirected, or engineered for hydropower production, it carries an intrinsic momentum.

"Toward the end of the piece, the sound returns to the original field recording, closing the cycle. After fragmentation and expansion, we come back to the simple, real presence of water. This return suggests continuity: despite human intervention, the river persists.

"Through this work, I aimed to translate the river’s relentless drive into sound — the infinite self-propulsion of water, flowing forward even within imposed boundaries. "

Section of the river Lech reimagined by Paco Maddalena. 

-------
Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"For this sound piece, I did not have any recordings of water, only ambient sounds from a café and the bells from the square. I modified certain elements of the recordings by reversing them and adding reverb. I also added a synth drone that gradually transforms into an organ sequence in order to give the piece a more “sacred” character and to shape a coherent soundscape.

"The title refers to the poem of the same name by Paul Verlaine."

Section of the river Lech reimagined by 53cm. 

-------

Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"Listening to the field recording and reading about it immediately evoked associations with the sound of movement, electricity, power plants, moraines and the surrounding fauna and flora. First I did slow down the original recording to different speeds, listening closely while allowing the data and contextual information inspire me for my further process.

"I then divided the field recording into several segments created rhythmic processed elements from the original file. Inspired by this evolving sound environment and my research, I did improvise over the soundscape on multiple tracks with midi controllers, experimenting with different sonic textures and gestures.

"After returning to my composition some time later, I made further adjustments, adaptions and refinements in speed, volumes and movement. Through this process, I tried to shape a composition that follows and reflects the Lech river."

Section of the river Lech reimagined by Steffi Baron-Neuhuber. 

-------

Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"At this segment of the Lech, the river has left its Alpine origins – its wild and icy rapids are just a memory. Data suggest that the Lech is “heavily modified” by human intervention (i.e., channelization, hydroelectric stations). However, at this point in its journey to the Danube, the river Lech (described as “widely lacking natural geomorphic dynamics”) does not merit restoration plans. Here, it seems to be considered nothing special or remarkable. Yet I was drawn to the “humming of the power station” in the field recording. This hypnotic sound highlights the nearby human activities that draw power from the Lech’s steady flow. 

"The Wasserkraftwerk’s low drone beneath the lively rush of water awakened my examination of the relationship between nature and technology. In creating “Sink, Surface,” I imagined timeless naiadic spirits becoming entranced by the incursion of human technomagic. Their chaotic, playful noises settle into harmonic relation with the device’s drone. 

"When I first heard that drone, I assumed 50Hz would be most prominent. However, listening deeply and vocalizing along with the rich hum, I found amplitude peaks: at (roughly) 138 Hz, 207 Hz and 350 Hz – very easily translated into a D♭major triad. I decided to filter sweep the white noise of the river itself to alternately remove and enhance the harmonic aspects of the machines. I then vocalized in various styles and timbres for use as compositional materials. I also played with the asymmetrical stereo of the original recording, first filling in the full stereo field, then at the end swapping the louder left channel to the right – a mirror image that reflects one’s change upon emerging from the depths. 

"How do how human endeavours both rely and impinge upon our ecological contexts? As an imaginary (re)mystification of the River Lech, “Sink, Surface” seeks to dissolve the false divide between the natural world and the human. It invites listeners into the liminal space of the Lech – where the power station emerges a vibrant, animating presence and the river’s sounding spirits call us to experience our own embodied inner flows."

Section of the river Lech reimagined by Gretchen Jude. 

-------
Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"Gregory Scheckler’s composition for Flow draws from field recordings at Epfach, where the Lech River bends beside the village. The recording’s distant church bells of St. Bartholomäus and fluttering water evoked memories of the composer's studies in nearby Innsbruck during 1987-88. 

"Through deep listening, he found the recording's natural rhythm at 104 BPM and created a "Flow Snare" using granular synthesis from the field recording, which he also layered several times to find sonic variety. The composition unfolds as a round—layered voices representing generations along the river—while its form mirrors the river's geography: the middle section broadens like the bend itself. A snippet from the upstream segment connects to earlier waters, and the finale unites the instruments in unison, like waters flowing together downstream. 

"Bells, waterways, synthesizers, percussion, and layers come together for an adventurous, uplifting palette."

Section of the river Lech reimagined by Gregory Scheckler. 

-------

Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"The combination of the church bells and textural water currents exhibited the relationship to the river from the community, building close to the river one assumes the ongoing relationship to the river. The water sounds shallow, passing over stones. I chose to bounce and defragment these sounds using 1/4" analog tape, a response to the water passing and breaking past stones. 

"Breaking and disjointing the elements with ambient melodic vibraphones. The piece wanders and intensifies to a textural dissonance of low tones and glitchy static. It resolves with solely the sounds of the river as it leaves beyond the town. The piece was edited together then processed back as a final mix onto 1/4" tape before digitizing to a final version."

Section of the river Lech reimagined by Nick Kuepfer. 

-------

Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.

"My process was pretty straightforward. I studied the photos and data of the river, attempting to get a handle on some of the terminology, history, and science. I then focused on my segment, specifically the reservoir and the surrounding forest. I didn’t feel the need to deconstruct the field recording, as there’s both mystery and clarity in it that I wanted to embrace. The heavy modification of the river segment via the channel and dams factored heavily in how I determined the movement, pace, and dynamics of my piece. The music was created with analog synthesizers and several delay pedals."

Section of the river Lech reimagined by Eulipion Corps. 
-------

Flow is a creative exploration telling the story of a river through the power of sound. The project is a collaboration between the University of Padova and the University of Würzburg, with support from Cities and Memory. Explore the full project at https://citiesandmemory.com/flow.