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
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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