FLAC .zip: 1291 mb | MP3 .zip: 1809 mb

Murmer - Framework 1 - 4

  • Singer: Murmer
  • Title: Framework 1 - 4
  • Category: Non Music
  • Info: Label: Herbal International ‎– 1202-2
    Type: 2 x CD
    Country: Malaysia
    Date of released: 01 Oct 2012
    Category: Non-Music
    Style: Field Recording
  • Rating: 3.8
  • Votes 530
  • Format MP3 MP1 MP3 XM AAC DXD AUD MPC FLAC APE

Download links


Murmer - Framework 1 - 4
MP3 album ZIP archive

1809 downloads at 29 mb/s

Murmer - Framework 1 - 4
FLAC/APE album ZIP archive

1291 downloads at 28 mb/s

Tracklist

1-1 Framework 1 [Paris Cuts] 14:19
1-2 Interlude [Tengmalm’s Owl] 3:00
1-3 Framework 2 [Ce Soir On Va Se Faire Chier] 32:57
1-4 Epilogue [Seaside Flagpoles] 4:00
2-1 Framework 3 [Swarm] 35:00
2-2 Interlude [Thunder & Cranes] 3:00
2-3 Framework 4 [4 Spaces] 15:00
2-4 Epilogue [Irrigation Drain] 4:00

Notes

Framework 1 - 4

The Framework compositions are a series of experiments with untreated field recordings, exploring notions of musicality within the structures of found sound. The compositions were created with differing sets of self-imposed rules: Framework 1 (whose sources were all recorded in Paris, France in March/April 2003) was recorded, edited and composed entirely on a single MiniDisc with no overdubbing or alterations to the sounds or their relative levels; Framework 4 (originally released on the Soundwalk Editions blog) is an experiment in sonic perception via the contrasts of resonance in different indoor and outdoor spaces; and Frameworks 2 & 3 are both long-form works of multi-layered sonic environments originally commissioned as radio works (for the Radia Network and Silenceradio, respectively). Framework 3 also explores the use of voice as a musical tool within a larger public soundscape, and includes sounds produced by a group of workshop participants in an attempt to actively resonate and interact with a specific space, both of which call into question a recordist's position as passive spectator. As an artist working with field recording who considers himself a musician, these works were in some way a reaction against this idea of documentary or objective presentation of found sound. If every microphone is a frame, can the works born via their vibrations be disconnected from a recordist's perspective, decision, action, or emotion? These works could be said to represent a momentary perception of a place and time, or perhaps a conglomeration of overlapping memories and impressions of past moments, activities, and spaces.

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