392:. It was much more personal than I was expecting." He believed that different parts of the world sound very different to each other one part of the world, adding: "On the London Underground, the way the 'mind the gap' echoes down the tunnel comes to you in such a London way, you can't fail to know where you are when you hear it." As Goldsmith describes, some sounds captured in language-laden locations (such as coffee shops and markets) catch locals in conversation, bringing "a specific local flavour to the tracks", while other sounds are not often associated with cities, including rolling thunder and "the unaccompanied chirping of birds". Several sounds are presented with brief descriptions, which Goldsmith says gives them "more poetic weight".
582:, Goldsmith believed the group of sounds to be somewhat uninteresting, with subjective selections that suggest the participants were "not really thinking about how to define the ultimate sound of London." However, he added that as the sounds they choice were those they "encountered in their day-to-day routine", the resulting release is "a more realistic sonic picture of the city than you would get from a promotional or commercial project that tried to describe a city." He also credited the project with allowing him to notice more sounds in his native
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contents, the CD was critically praised by reviewers and inspired newspaper articles and radio discussions. Cusack commented that the release had received "far more interest than any of my musical work has ever had". He was pleased with the final recording, commenting: "It was obvious from the responses that people did listen in a lot of detail."
261:
circles that because of ever increasing noise we are losing the ability to hear. I think this is nonsense. We may find it pretty difficult to talk or think about sound but we certainly hear it, including the details within all the noise." He expressed surprise at minor details that participants often
197:
The sounds on the recording are highly diverse and vary between outdoor and indoor sounds, some of which are famous and some of which are more atypical. Several sounds are specific to London while others are broader. On release, the album received critical acclaim, including being named the week's
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is a CD based on responses from the questionnaire, featuring 40 examples of London sounds given as choices. Some of the recordings are the same as those which debuted on the 1998 radio station. Cusack compiled and edited the disc and recorded 35 of its tracks; the others were recorded by
Matthias
546:
was released as a CD in
November 2001 by the LMC's eponymous label. The booklet lists further responses which are not captured on the recording, including "a baby laughing on the Underground", "my boyfriend's orgasms and I love yous" and "none, I war earplugs." Despite the humdrum nature of its
328:
of London's distinctive soundscape, one which "has inspired
Londoners to close their eyes and listen to their city." Author David M. Frohlich writes the project demonstrates that the favourite sounds of London are "highly idiosyncratic, and just as likely to include man-made sounds as natural
29:
423:
languages overhead on the transport system, impersonal reminders of heightened security in the beleaguered city, ageing machinery grinding toward obsolesce, its tortured wails a taunting reminder of our financially draining dependence on clockwork history."
204:, and inspired radio and newspaper commentary. Cusack commented that it received more attention than his musical work. Ultimately, the London project was the first in Cusack's larger Favourite Sounds Project, which visited other cities across the world.
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washed by waves from the river." Hayward admired how people can walk through the overtones, and appreciates "the strange conjunction of that and the sounds of the river, and the sounds of people walking through the pebbles." The sound of an
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There was no overwhelming "favourite London sound" to emerge from the replies, with few people offering the same answer as anyone else. Many of the selections were surprisingly personal, and varied between outdoor and indoor sounds (such as
472:
was described by
Walters as "a delicious, drawn-out sequence of clunks and drips, hissing and explosive boiling recorded in close-up, fetishistic detail"; it is introduced by its nominator as "not specifically a London sound". On the track
415:), highly personal (a phone message), "universally shared soundmarks" ("post through letterbox", "key in door") and unusual "ear-of-the-musician" answers. Toop also characterises some sounds as possessing "a distinct air of cinema
329:
sounds", while
Lawless said the release "confirms Londoners' intense and idiosyncratic relationship with the urban soundscape." The subjects are diverse, ranging from frying onions, "rain on skylight while lying in bed", "the
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to have been part of the emergence of sound-based artistic projects which explore the sentimental value of sound, projects which reveal "a rich set of meanings and preferences for particular kinds of sounds." Clive Bell of
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included in their answers, ones which "may not be sonically apparent but which for them were important." He believed such sounds slowly gain personal significance to those who "travel the same route everyday". The sound of
399:, there are less predictable sounds and several "extremely delicate and specific" ones, such as bicycle wheels riding over "loose concrete slabs" on a specific towpath, while others are more generic, including
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musician, used
Resonance 107.3 FM as an opportunity to undertake research, asking festival goers and listeners to send in or tell of their "favourite London sound". This formed the basis of a programme,
257:). Cusack was surprised by how considered and largely serious the answers were, as well as how detailed and specific they could be. He found this "especially encouraging", saying: "It has been said in
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material for radio schedulers; an audio document of contemporary urban life. It will bring a smile of recognition to many harassed city-dwellers." He named it the newspaper's "CD of the week." In the
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a "strangely comforting" and "pleasingly mundane" disc with a concept that is theoretically endless. He noted that the LMC consider it to be an "audio postcard" and believed it would sell strongly in
403:
moving on entry to a football game. She also notes the inclusion of several endangered sounds, such as "the slamming of old-fashioned train doors, some of the few not yet replaced by mechanical
632:(2021), Sam Auinger and Dietmar Offenhuber single out the London edition for reflecting "changes in the sensory qualities of the city as a result of the expansion of the Thames shore into a
194:, which Cusack used to ask festival goers and listeners what their favourite 'London sound' was. He received hundreds of responses, many of which were varied and often personal.
628:. As with the London instalment, all its successors focused on discovering what locals find positive about their cities and neighbourhoods and how they interact with them. In
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666:(2007) as a sequel. She believed such projects were "somewhat old-fashioned" by 2006 standards, but noted the London disc "sold well enough to pay for the project."
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The London project was ultimately the beginning of what became Cusack's ongoing
Favourite Sounds Project, which later explored diverse cities including
245:. Cusack received hundreds of responses, and then travelled around London to capture all the relevant sounds himself, providing hours of raw material.
431:. Cusack's favourite sound is "a nightingale singing against the hum of an electricity substation", admiring the juxtaposition between "the
224:(LMC) launched and ran a temporary radio station, Resonance 107.3 FM, over four weeks. It was the first ever London station dedicated to
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Lawless says that in addition to "predictable natural sounds," such as a fountain, blackbirds, and rising and falling barges moored in
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to have been "particularly memorable" for bringing the power station hum with the sound of the Thames. Emily Nunn of
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477:", Cusack is heard explaining to a woman that he is recording "all the clanging as you take all the stuff down."
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388:. Cusack said many people "mentioned bus sounds – but not just any bus. It had to be the No. 73 bus, or the
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and traffic, but a large number of responses offered a collection of sounds rather than an individual one.
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included the album in the "Outer Limits" section of their list of the best records of 2001.
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considers the London project to be the apogee of Cusack's field recording work, and notes
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The disc opens with the sound of Big Ben, the most popular choice, which was captured at
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opines that the project provides "an odd way to think about a city", while according to
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1266:"Bongs, bangs and broken bells: why the sound of Big Ben resonates in British culture"
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411:, sounds vary from famous (Big Ben and "mind the gap"), social (a club queue and
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and the crass, everyday urban hum." He also singled out the sounds of
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419:", citing the "disembodied announcements echoing in public space,
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was the most popular choice, while some surprising picks included
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353:, birds, traffic, taxis, trains, geese, wailing sirens, humming
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across London, adding: "It's a
Christmas present for homesick
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1344:"2001 Rewind: 50 Records of the Year plus specialist charts"
1413:. London and New York: Bloomsbury Publishing. p. 202.
786:"Tottenham Hotspurs Football Club, White Hart Lane" – 2:55
1129:. New York: Springer Science+Business Media. p. 50.
750:"Evening Birds in Abney Park Cemetery, Early May" – 1:59
443:. Toop's own choices were the spatial sounds of distant
1375:
Anthropology and Beauty From
Aesthetics to Creativity
1126:
Audiophotography: Bringing Photos to Life with Sounds
850:("Tottenham Hotspurs Football Club, White Hart Lane")
641:
Audiophotography: Bringing Photos to Life with Sounds
1411:
The
Bloomsbury Handbook of the Anthropology of Sound
741:"Escalator, King's Cross Underground Station" – 0:40
630:
The Bloomsbury Handbook of the Anthropology of Sound
282:"), Tom Wallace ("Bus Pressure"), Bunny Schendler ("
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35:
21:
1377:. Milton Park, Oxfordshire: Taylor & Francis.
696:"'Mind The Gap', Bank Underground Station" – 0:49
294:") and Syngen Brown ("LRT Transformer, Putney").
376:Some sounds are specific to London, such as the
1173:: CS1 maint: others in cite AV media (notes) (
759:"The Great Court of the British Museum " – 2:09
789:"St James's Park: Two Species of Baby" – 0:59
735:"Deptford Grid Electricity Sub-Station"– 2:20
702:"Blackbird Dawn Chorus, 4.00AM in May" – 2:05
8:
1095:. London: Serpent's Tail. pp. 106–108.
780:"Rain on Skylight While Lying in Bed" – 1:31
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1093:Haunted Weather: Music, Silence, and Memory
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783:"Bleeps at the Supermarket Checkout" – 0:46
1405:Auinger, Sam; Offenhuber, Dietmar (2021).
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756:"Fountain in Victoria Park, 1.00AM" – 1:25
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931:"New arts-based radio station for London"
747:"Slamming Doors, Victoria Station" – 1:36
744:"Euston Main Line Railway Station" – 1:21
439:for clearly presenting the area's strong
174:is an album compiled by English musician
1198:"'London Sounds' Listens In on the City"
1091:Toop, David (2005). "Space and Memory".
826:(all tracks except 3, 10, 20, 34 and 38)
795:"Taxis Waiting at Euston Station" – 0:59
792:"Under the Flyover, Hackney Wick" – 1:06
463:at the edge of the Thames, a saturating
447:at night and the high-pitched croaks of
228:, and later evolved into the artist-run
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1317:Goldsmith, Kenneth (16 February 2015).
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1018:Goldsmith, Kenneth (26 February 2002).
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738:"Regent's Park to Oxford Circus" – 5:00
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762:"Helicopter/East London Mosque" – 5:51
232:. The LMC and particularly the member
1264:Crampton, Caroline (21 August 2017).
1236:"Sounds of London ring out on new CD"
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717:"Butlers Wharf: Thames Sounds" – 2:01
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186:of sounds around the English city of
178:and released in November 2001 by the
16:2001 studio album by Peter Cusack
7:
1290:Walters, John L (23 November 2001).
801:"Swifts Over Stoke Newington" – 0:54
699:"The Bank of England, 1.00AM" – 1:36
678:sounds that Cusack helped organise.
674:(2006), an online public archive of
652:magazine considers the recording of
384:" announcement) and the bell on the
345:message, a bicycle crossing a canal
844:("Euston Main Lin Railway Station")
1319:"Cusack's Favourite London Sounds"
1020:"Cusack's Favourite London Sounds"
369:(1999), similarly include lengthy
14:
1234:Lawless, Jill (27 January 2002).
1163:(liner). Peter Cusack. LMC. 2001.
768:"Onions Frying in My Flat" – 1:10
753:"Michelle's Phone Message" – 0:58
513:
306:The disc opens with the sound of
824:– compiling, editing, recording
813:Adapted from the liner notes of
798:"LRT Transformer, Putney" – 1:40
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288:Tottenham Hotspurs Football Club
284:Euston Main Line Railway Station
1444:Nunn, Emily (7 December 2006).
771:"Post Through Letterbox" – 1:20
711:"The Bell on the 73 Bus" – 0:25
708:"Bagel Shop, Brick Lane" – 1:22
1371:"The Favourite Sounds Project"
690:"London Bridge Station" – 2:07
349:, a hissing bus door, a noisy
1:
929:Tilden, Imogen (1 May 2002).
830:Matthias Kispert – recording
720:"Canal Towpath Stones" – 2:01
672:Your Favourite Chicago Sounds
333:from an east London mosque",
1409:. In Schulze, Holger (ed.).
1373:. In Bunn, Stephanie (ed.).
1161:Your Favourite London Sounds
815:Your Favourite London Sounds
668:Your Favourite London Sounds
645:Your Favourite London Sounds
558:Your Favourite London Sounds
544:Your Favourite London Sounds
322:Your Favourite London Sounds
275:Your Favourite London Sounds
171:Your Favourite London Sounds
148:Your Favourite London Sounds
22:Your Favourite London Sounds
1123:Frohlich, David M. (2004).
902:Bell, Clive (Summer 1999).
868:("LRT Transformer, Putney")
856:("LRT Transformer, Putney")
723:"Club Queue, Hoxton" – 1:47
670:also inspired Jesse Seay's
664:Favourite Sounds of Beijing
639:Frohlich, in his 2004 book
222:London Musicians Collective
180:London Musicians Collective
111:London Musicians Collective
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1450:The Chicago Tribune: Tempo
875:Ed Baxter – booklet design
842:Bunny Schendler recording
367:Where Is the Green Parrot?
310:, the most popular choice.
1513:London in popular culture
854:Syngen Brown – recording
568:; a souvenir; a generous
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872:Dave Mandl – photography
836:Tom Wallace – recording
774:"Nightingale/Hum" – 0:56
732:"Deptford Market" – 2:09
693:"Brixton Station" – 1:49
572:; a versatile source of
208:Background and recording
156:Baikal Ice (Spring 2003)
140:Strings with Evan Parker
848:Clive Bell – recording
777:"London Thunder" – 4:09
729:"Dalston Market" – 1:29
461:electricity sub-station
1369:Cusack, Peter (2018).
804:"16th Floor Up" – 2:35
311:
182:(LMC). It collects 40
726:"Coffee, Soho" – 1:39
714:"Bus Pressure" – 1:00
481:Release and reception
441:Bangladeshi community
380:sounds (such as the "
320:writer Jill Lawless,
317:The Los Angeles Times
305:
1493:Sound effects albums
1488:Sound collage albums
977:(23 November 2001).
904:"History of the LMC"
765:"Key in Door" – 0:36
486:Professional ratings
1169:cite AV media notes
832:("Brixton Station")
705:"Brick Lane" – 1:51
659:The Chicago Tribune
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455:'s choice was "the
335:double-decker buses
1508:Works about London
860:Tom Brake – voice
550:In his review for
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378:London Underground
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273:Realised in 2001,
220:in June 1998, the
1498:Culture in London
1446:"She's listening"
1292:"Any more fares?"
1270:Prospect Magazine
1204:. 26 January 2002
1202:Los Angeles Times
1063:. 28 January 2002
979:"Any more fares?"
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192:Meltdown Festival
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52:November 2001
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1454:. Retrieved
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1296:The Guardian
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1275:30 September
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983:The Guardian
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822:Peter Cusack
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429:street level
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382:mind the gap
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355:power plants
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234:Peter Cusack
230:Resonance FM
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176:Peter Cusack
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128:Peter Cusack
121:Peter Cusack
42:Peter Cusack
37:Studio album
1478:2001 albums
1407:"The Plaza"
278:Krispert ("
212:As part of
198:best CD by
1472:Categories
1426:11 October
1390:11 October
1354:16 October
1328:16 October
1208:16 October
1102:1852427892
1067:16 October
988:16 October
940:22 October
880:References
606:Birmingham
602:Manchester
437:Brick Lane
409:David Toop
401:turnstiles
397:the Thames
390:No. 12 bus
259:soundscape
253:hitting a
130:chronology
1456:3 October
1302:3 October
1246:3 October
1034:3 October
914:3 October
809:Personnel
343:voicemail
226:radio art
214:John Peel
63:, England
1348:The Wire
589:The Wire
457:Deptford
433:birdsong
421:polyglot
417:futurism
298:Contents
117:Compiler
57:Recorded
49:Released
39: by
908:Variant
676:Chicago
650:Variant
626:Beijing
622:Toronto
566:émigrés
347:towpath
308:Big Ben
264:Big Ben
255:doormat
159:(2001)
152:(2001)
143:(2001)
1452:: 1, 7
1417:
1381:
1133:
1099:
618:Berlin
614:Prague
596:Legacy
574:filler
499:Rating
496:Source
449:swifts
386:73 Bus
324:is an
188:London
89:Length
61:London
465:drone
459:Grid
236:, an
106:Label
69:Genre
1458:2023
1428:2023
1415:ISBN
1392:2023
1379:ISBN
1356:2022
1330:2022
1304:2023
1298:: 24
1277:2023
1248:2023
1242:: B4
1210:2022
1175:link
1144:2023
1131:ISBN
1097:ISBN
1069:2022
1036:2023
990:2022
942:2023
916:2023
624:and
341:, a
251:post
1061:NPR
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910:(8)
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