Info/Credits
Country and Birds<b>Dartmouth Park Pavillion</b> If you follow the diagonal north-west trajectory of the middle footbridge further up the map, you will eventually reach the entrance to Dartmouth Park. The pavilion is just past the “skillful darting notes” of a goldfinch and a lone bandstand surrounded by grass. 

This is a fun building with a four-story tower that works really well as a base from which people can explore Dartmouth Park; it makes excellent clomping noises when you walk along its metal walkways, and its wooden exterior, made of hundreds of vertical planks, toes the line between Celtic fort and something from Lord of the Rings. Its smart design means that it manages to both stand out and remain in-keeping with the vegetation and views of the Sandwell Valley that it overlooks. 
<b>The Pond</b> Behind the pavilion is a rectangular expanse of water with an island in the bottom right corner. Ducks are floating in the top left corner surrounded by tiny ripples that offer gentle movement to the otherwise still, serene drawing. This is your final stop and here you can listen to all manner of birdsong, replicated around the pond in spectrograms. A blackbird with its mid-range melodic gossip with occasional high-pitched exclamation. A mallard that sounds like deep distorted (cruel) laughter. A moorhen’s described as having an alarm call with fast tremolo. And a canada goose builds up to a bark/honk with low resolving notes in between.
Lee, the artist and Lorenzo, the sound recordist spent an excellent day with Sandwell Visually Impaired walking around Dartmouth Park, capturing the sounds of the place. Lee’s fondest memory was of the walk around the pond: everyone took a moment to record the sounds of ducks, the slop and ruck of silt, and Ashim's cane as it crackled along the path. It was largely overcast but bright, and when the sun did briefly come out, it felt like time stretched. As if walking around the periphery of the pond was the perfect length of time to detangle anxious thoughts or worries.
<b>Common Blackbird - Alain Malengreau, XC870728. Accessible at www.xeno-canto.org/870728.</b> A melodic monologue by one blackbird to his flock, the occasional high-pitched exclamation amid an otherwise conversational cadence<b>European Goldfinch - David Darrell-Lambert, XC832142. Accessible at www.xeno-canto.org/832142.</b> A European Goldfinch song darts energetically between high-pitched notes, occasionally threading in high-pitched frills <b>Ball kicked in park</b> The slam of a foot kicking a ball followed by a rattle as it rolls away, lighter kicks far away<b>Coal Tit - Chèvremont Fabian, XC863422. Accessible at www.xeno-canto.org/863422.</b> A Coal Tit loops between a couple of notes, bending around them in a repeating pattern. A pause in the middle, the loop stays open, it begins again.<b>Great Tit - Olivier SWIFT, Manuel GROSSELET, XC862145. Accessible at www.xeno-canto.org/862145</b> A Great Tit chirps in two notes - dee-doo dee-doo dee-doo dee-doo<b>Eurasian Magpie - David Bissett, XC861760. Accessible at www.xeno-canto.org/861760</b> The harsh, raspy chatter of a Eurasian Magpie, pausing for long intervals to listen to distant caws and shrieks of its community<b>Fieldfare - Daniele Baroni, XC803061. Accessible at www.xeno-canto.org/803061</b> Excited squeaks of fieldfares, like balloons squeezing against each other, bouncing between high and low notes playfully <b>Parakeet Call</b> Rich squeaks of a parakeet that start high, then step patiently down to mid-pitch. Repeats 7 times in the same staircase pattern.  <b>Song Thrush - Manuel Grosselet, XC858675. Accessible at www.xeno-canto.org/858675.</b> An impressive array of melodic gestures by the Song Thrush: a confident caw, a tinkling spray of high notes, teasing rattles up and down the scale. <b>Greylag Goose - Lars Edenius, XC803358. Accessible at www.xeno-canto.org/803358.</b> Deep-throated croak, a gruff ‘gah’ and a quieter ‘rah’: GAH-rah GAG-rah. Melting away into the distance.<b>Canada Goose</b> Amongst a babble of low-pitched squawks, the honk of a Canada Goose rises up to pierce the air. <b>Vehicle reversing near pavilion</b> Amongst the twitter of songbirds, a van reverses. High-pitched cautionary beeps at calm intervals. <b>Common Moorhen - João Tomás, XC863622. Accessible at www.xeno-canto.org/863622.</b> A full-bodied, rushing trill from a Moorhen, shrill and decisive <b>Mallard</b> A Mallard cackles loudly, squawks sounding deep, raspy and cruel<b>Redwing - Lars Edenius, XC727906. Accessible at www.xeno-canto.org/727906.</b> A Redwing whistles a gentle descent, dwoo-dwoo-dwoo-dwoo, dee-da dee-da dee…<b>Toy</b> A wooden toy click-clacks across the ground quickly, tutta-rutta tutta-rutta tutta-rutta
Headline and Notes<b>Laugh and shout</b> A tinkling laugh that dissipates into the busy indoor cafe, a shout beckons, pop music mingles <b>high pitch laugh</b> A cackle turns into a high-pitched shriek of glee<b>car exhaust popping</b> A car revs and the exhaust give stuttered pops, a series of low-pitched mini explosions <b>Eurasian Blue Tit - Aitor Zabala, XC863597. Accessible at www.xeno-canto.org/863597.</b> A 3-part song from a Eurasian Blue Tit; a high whistle, a small neat tweet, a sparkle of notes in quick succession tripping over each other<b>Car Revving</b> A motorcycle revs in the distance, zig-zagging towards us, each acceleration followed by a gear change<b>Bus rumble 2</b> The engine of a waiting bus makes low-pitched drills, a rev kicks in and overtakes the rumble  <b>Car Horn 1</b> An accusatory car horn rings, a substantial 3-second honk<b>Car Horn 2</b> A cautionary car horn beep, high-pitched, short and friendly. The car drives away. <b>European Robin - Manuel Grosselet, XC862630. Accessible at www.xeno-canto.org/862630.</b> The high-pitched twitter of a Robin, occasionally slipping beyond the top notes to slide around the next octave below<b>Eurasian Nuthatch - Paul Driver, XC811309. Accessible at www.xeno-canto.org/811309.</b> A Eurasian Nuthatch sings the same high note 4 times, taking a pause to listen before repeating the call. Each note is an almost-imperceptible glissando.
High Street<b>The Town hall and Library</b> The next cluster of landmarks are above the bus station. The main high street is represented in two halves that run parallel to each other. On the map, you can think of them as the upper high street and the lower high street. They stretch from the left edge of the map and continue past the centre towards the right edge. The upper street is illustrated above a road of recorded sounds scored on a long stave. The opposite, lower side of the street is upside down, directly beneath the stave. You’ll find the town hall and library on this level, closest to the left edge of the map.

The two-storey library has a grand, symmetrical design with giant columns on pedestals and arched bay windows. Stone steps lead up to the doorway with the words Public Library emblazoned in stone above the entrance. There’s a disused telephone box to the right of the building and then you have the town hall, at the end of the left side of the high street. Its similarly impressive main entrance boasts three arches supported by stone columns and a tall corner tower. These illustrations are particularly intricate, especially the architectural details. The ridged lines of each column and every stone embellishment are carefully reproduced. 

The buildings insist upon their importance, but in a way that seems to still convey their municipal, democratic intentions. Inside, both manage to obtain a level of 'hush' that is very loud; if you listen intently for it, it comes across as a warm sound, like sitting in a comfortable chair and sipping on a cup of tea at perfect temperature. Quiet but not devoid, satiated and not just satisfactory.

A striped zebra crossing leads from the town hall to the other side of the street, briefly interrupting the long stave of music that divides the two sides of the high street. You can listen to Ashim, a member of Sandwell Visually Impaired, as he crosses the road with his white cane rattling along the ground.
<b>The Churches</b> You head down the high street, passing the town hall, the library, a smattering of shops and then you reach a Catholic church. It’s a typical spire-to-heaven type of church with many arched windows across its facade. Nearly opposite this church on the upper street is a stumpy two storey glass-and-brick Methodist church. A sculpture outside of a large fist clutching a cross is elevated on a stone plinth. Both buildings retain a quiet intensity that may come from the emotion of the ceremonies that have taken place within their walls.<b>The Market</b> Continuing along the lower high street, the market begins to the right of the catholic church and finishes at the right edge of the map.
Each day, there are hundreds of people who come to West Brom market to be a part of something greater than the sum of their transactions; carrying blue plastic bags, they shuttle between fruit and veg sellers and a bric-a-brac stall where they can get a battery for a smoke alarm. 
Higgedly piggedly market stalls stand beneath a long solar canopy. Boxes of produce are stacked on the ground waiting to be handled and sold. Miniature traders are stationed behind tables, addressing passing customers.
One trader, who’s bought his job-lot of potato peelers to sell to the public - is demonstrating the quality of his wares on all sorts of vegetables, leaving him standing in a molehill of potato skin and carrot scraps. You can hear him selling the peelers for 'three pound each or two for fiver' and the cadence of his voice is scored in quavers above the market.  
<b>Central St. Michaels Sixth Form College Formerly the Public</b> You return to the upper street - you’re the right way up now! Towering high behind a parade of shops is the sixth form college, which was once an art centre. It dominates the skyline. Its colossal, broad black box design looks distinctly different to everything else around it as if it’s landed from outer space. Everyone mentions its alien-like qualities and not always in a positive manner… It looks like a huge ship container or a tanker. Horizontal lines mark out its aluminium cladding. 7 jelly bean shaped, blobular windows are scattered across the metal exterior in random places and random sizes.
Still, it is quite definitely a landmark, significant for its kitsch design that works as a litmus test for all the other buildings in the area.
<b>Fenced-off Brown Site</b> The fenced-off brown site is a few shops to the right of the college. On the map it’s above syncopated reggae chords in A minor, F major and G major.
It’s a caged off ex-building site with fallen bricks and crushed beer cans tucked into its fences. Somewhat surprisingly then, it is also the most naturally important site along the length of the High Street. During a workshop with Birmingham and the Black Country Wildlife Trust, Jake, their officer, spoke at length of the rich diversity of the flowers, trees and insects living on what is known as a Brownfield site. He estimated that there would be thousands of solitary bees (the ones that do all of the pollinating) living in amongst the stones and broken bricks illustrated in writhing scrawls. <b>Three Bridges over the A41</b> You exit the high street, accelerate to the far right end in pursuit of a gang of rock doves that explode into the sky. They make a similar sound to when you blow across a bottle’s top with your tongue in the way. The path forks right and left and both directions lead to bridges.
The significance of these bridges is that they allow you to cross the ugly roar of the A41 and arrive at Dartmouth Park and the Sandwell Valley. They are also significant for how they do this.  The path that forks left eventually becomes a footbridge that crosses the road almost by accident, spanning over the scored glissando or sliding revs of a bus beside the words: “like a stuttering engine”. Further to the left, another bridge rears up like a snake and intercepts a stave with semiquaver ghost notes that represent the popping of a car exhaust. On the far right, the third bridge spirals up and out of the ground, connecting a timber-framed house to a stretch of trees. Here you will find birdsong plotted on spectrograms. A nuthatch’s call is described as “subtle and quick glissando to meet mid slash low note” while a robin to the left suggests: “playing around a central note with occasional high-pitched interference”. These bridges would make great settings for the climax of a utopian or dystopian book. If everything else disappeared in the apocalypse, would fragments of these bridges still be found?
<b>Zebra crossing beeps</b> Feet shuffling across a zebra crossing, underneath pulsing high-pitched beeps.<b>Ashim's cane</b> A repeating rattle of a cane, its roller tip scraping against pavement. Quick pops, melodic like bubble-wrap. <b>library heater and borrowing machine</b> The mechanical whirring of an old heater inside a large library hall, a beep and a child’s cry. <b>doors</b> A ping-pong of beeps, high-low, high-low, cautioning open doors. <b>3 pound each</b> A mid-tone lilting male voice calls out “Three pound each or TWO for fiver, TWO for fiver, to-DAY!” amidst the hustle of a marketplace. <b>10 pounds</b> Clink and rustle, a throng of voices shopping, a singsong male voice counts up “your FIVE pound, your TWO pound, your THREE pound, so that’s TEN pound” with rising emphasis. <b>reggae</b> Head-bopping syncopation of a reggae song wafts out of a speaker on the busy pavement. <b>Pound an item</b> A sing-song male voice rattling off items at a food market, “a POUND an-item, a POUND an-item…” landing on the “pound”, sliding onto “an item”<b>Starlings on High Street</b> The silky squeaks of a flock of starlings, chatter firing in multiple directions<b>Common Starling - Marc Anderson, XC733302. Accessible at www.xeno-canto.org/733302</b> A Common Starling releases a piercing cry into the sky like an arching firework subsiding as fast as it falls<b>pigeon with car horn</b> The soft, throaty rattle of a contented pigeon, it coos twice, a car horn beeps angrily in the distance<b>pigeon flying away</b> Wings flap in alarm, slap the air down and away in a flurry, beaks chatter with effort <b>Play the Building</b> An electronic track that layers gradually; 2 bars of fast tapping, then offbeat rattle-shakes, a double-speed staccato click, and hollow knocks to fill the gaps.
Tram and Key<b>The tramline</b> In the bottom right corner, a tram is arriving at its stop, where one person is waiting, sitting under the shelter. Tiny dots at the windows of the tram indicate the figures of commuting passengers. In place of adverts or signage, there are letters and question marks along the bottom of three of the five carriages. The head and tail of the tram are identical, protruding out like triangular noses. Whether you cycle along the canal or arrive by tram, the tram stop feels like an entry point into West Brom. Maybe because it runs conclusively East to West as a boundary beneath the High Street, like a shoreline. Coincidentally, gulls can often be heard here - probably because of the food scraps that they can salvage from the industrial parks south of the tramlines. On the map, text trails off to the right of the tram, it reads: Tram noise continues into the distance. The tramline’s tracks are musical! A stave runs along the bottom of the map from the far left to the right with notational representation of the tram’s every sound - its bell and the swell and diminish of its arrival and departure. <b>The bus station</b> After the tram, it is almost impossible to get to the High Street without going through or past the Bus Station. On the map, the station is parallel to the tramline, illustrated directly above the trees that flank either side of the tram stop.

A packed double decker bus approaches the station from the left, just passing a distinctive piece of public art. A tower made up of three poles is bound in a metal spring with a funnel shaped beacon in the centre like an Olympic torch. A treble clef floats above the roof of the bus and a high b is followed by the word beep!

Multiple bus stops are under one long, continuous roof that curls around like the tail of the letter j. It is always nicely busy, and as with all bus stations there is a sense of expectation bound up in the onward destinations. At the head of the station is a quirky, curvy metal sign supported by four bulbous columns which stand on decorative circular mosaics but on the map these appear as ripples or ebbing vibrations. Umbrella canopies sit like open sails above the sign, giving the entrance a trippy strangely nautical feel.
This enticingly odd impression is reinforced when you enter the Kings Square Shopping Centre that leads from the Bus Station; it has the same flooring of all late 20th century shopping centres - tiles the length of your feet, mottled with strange scraps of colour which sparkle in the lights.
<b>Tram arrival</b> The faint screeching of seagulls in the distance and the deceleration of an approaching tram. A young child babbles a loud question. <b>Tram boarding</b> Birds tweeting sweetly in the background as bodies shuffle. Tram doors shut with a tinny bell. <b>Tram leaving</b> Metal tracks slide into action and then fade into the distance. <b>Girl waiting for tram</b> In the breeze, a young girl quietly calls to her father in a south Indian language.<b>Gull by tram</b> Louder conversations over the heavy drone and puffs of an engine. <b>Bus ticket machine</b> Louder conversations over the heavy drone and puffs of an engine. <b>pip</b> The high pitched staccato beep of a ticket-reader. Short.