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Framework Radio existiert seit 2002 und wurde zum ersten mal beim renommierten englischen Sender Resonance FM In London gespielt.Die Sendung wird mittlerweile weltweit auf verschiedensten Radiostationen und Podcasts veröffentlicht und Beschäftigt sich mit dem Thema Fieldrecording im Kontext zur Komposition. Wir kennen keine Grenzen. Weder auditiv noch geografisch legen wir uns fest und präsentieren unseren Hörern eine künstlerische Auseinandersetzung mit dem Thema der Außenaufnahmen (im weitesten Sinne) und Komposition. Also. Es geht um den gefundenen Sound. Den Klang, den man nicht selbst entwickelt, sondern dem man auf der Straße, in Hinterhöfen eben einfach draußen begegnet. Es wird hingehört, das außergewöhnliche extrahiert, dem nachgegangen, was uns in unserem täglichen Dasein oft „unhörbar“ bleibt. Framework Radio geht der Frage nach, was Außenaufnahmen wirklich sind. Sind Sie ein Stil, ein Genre oder wird der Hörer nur mit einer unkontrollierbare Situation konfrontiert, in welche er sein Mikrofon hält um es elektroakustisch einzufangen? Framework Radio beschäftigt sich mit der Kunst, Aufnahmen aus dem öffentlichen Raum in einen kompositorischen Kontext zu stellen und somit eine neue vielleicht unerhörte Form der Komposition zu erschaffen. Hier haben internationale Künstler die Möglichkeit sich und ihre Arbeiten zu präsentieren, sich auf ihre Art mit dem Framework Konzept auseinander zu setzten. Wir laden euch ein, eine Community kennen zu lernen, die abseits des Mainstream, neue Formen und Ansätze sucht, mit Klang und Komposition umzugehen.


Framework Radio #666!

this week’s special year-end, seasonal edition of framework:afield#666, has been produced in the united states by mandy szostek, and is a spoken-word environmental meditation recorded at the graveside of william s. burroughs. you can find out more about mandy and her work at the following sites:

producer’s notes:

Mandy Szostek is not a professional field recordist, but a lover of field recording; mostly as she has been exposed to, so wonderfully via platforms onFacebook. It has been about 6 years of avidly listening to the work of others, and thanks to a warm and inviting online community, has been able to learn a lot, and enjoy very much!! She has been shy about starting off on her own, but now with a handheld recorder, is feeling slowly but surely more emboldened, and comfortable. The same can be said about teaching oneself how to use audio software …. It is intimidating at the beginning, but turns in to something inviting and even promising! Thank you to all of the fascinating and fantastic recordists out there! 

This is a conceptual method, where I have picked a monument which is significant to me ahead of time, and then, “arrive there, remain still, and listen to whatever may be in the atmosphere…to find,whatever it sounded like” in the atmosphere around that place. I chose the cemetary near to where I live, named Bellefontaine. This is very text heavy, but, I thought it was appropriate, to read the texts which I found over a 6 month period, delving into the question of the number, “666”, and to weave a tapestry of what that meant to me,with the birds and sound of trucks and walkers and trains in the background. It was luckily a beautiful day, November 29, 2018 at around 1 o’ clock in the afternoon… in St. Louis, Missouri,coordinates, are: 38* 41’ 25.6” N , 90* 13’ 53.5” W.

Framework Radio: #587: 2017.02.26 [ian-john hutchinson]

this edition of framework:afield has been produced in south korea by ian-john hutchinson. for more information see


notes from the producer:

Field Recording in recent live performance in South Korea.

What is the nature of the contemporary sound object?

Given that the status of a field recording may be very dubious, and its fate may be oblivion, what are the strategies that artists have developed to present their field recordings and to generate audience engagement in listening to sonic representations. What tricks are artists pulling in attempting to get people to ‘open their ears and listen?’

Some overlap, some reinforcement among these questions will be sought in the context of the recent use of phonography for live performance in the South Korean speculative music scene.

There are four artists whose live performance documents can be heard in this short program.

The first is Korean artist Lee Daeil. In 2012 and 2013 Lee Daeil facilitated some opportunities for blind people, adults and children, to explore sound focused activities.

Lee Daeil Interview: July 2016

Ian-John: You facilitated some opportunities for blind people, adults and children, to explore sound focused activities. Tell me about that work.

Daeil: …we go on a field trip, with the blind people together, and I wanted them to memorize, to keep the moment in their minds through sounds, what they hear…and I choose the typical sites, such as very loud places like a traditional market, subway stations or metal factories…and I didn’t ask them nothing, like rehearsals etc…then later on the concert day I just asked them to recall the memories again…and surprisingly, this memory was very vivid and clear for them.

IJ Did they make field recordings themselves on that field trip?

D: No, actually not, they were just listening…they recorded in their mind, their brains, their spirits maybe…

IJ: Tell me about the performance. What was the basic idea?

D: I wanted them to mimic and vocalize the sounds, these moment…ambient memories that they had from these specific sites, and out of this vocal sounds I created a soundscape…so reproduced soundscape…and I asked them to just play(vocalize) what they remembered randomly and I gradually played the original field recording sounds through the speaker(s), and I gradually turned up the volume, so that their voices accordingly got bigger and bigger(louder and louder)…and the sound I played was very very loud and their voices were very very loud as well…and they could not listen (to) what they say, what they sing or what they shout…so it is a kind of equilibrium state, so it was like 3 or 4 minutes of very very loud moments, and then suddenly I turned off every sounds that I played, the field recording…and finally they could listen what the volume, and (to) the chaotic mixture of the soundscape that they created…that was the main concept that I wanted to show…

…actually it was not my main intention to differentiate the artificial sound and the real sound…I played the real field recording only because…to interfere with the blind peoples vocalization, for example in the market place there are many different sounds like people yelling “Buy this, I have fresh fruit” or something…I wanted to encourage them to be more vivid, I wanted to give them a clue to be at that moment again…

…I do not expect anything before I do the performance with them, because I do not do rehearsals…the only thing I do is I give clear instructions (about) what they (should) do…so after the concert it was great, it was not exactly what I thought that it would be, but it is very very striking and new…

Lee Hanjoon Interview:

Hanjoon: I recorded in Gosung, Gangwon-do, South Korea…it’s nearby the borderline of South Korea with North Korea…it is a really interesting place…

…I used the iPhone 4 and Rode IXY and Rode dead kitten (it is a windscreen, it is a really really important gear for my recording)…

…I record the sound of the beach, just the wave and the walk on the beachside…on the sand…the sound of my footprints…

…I recorded the sound of the beach and of my footprints about 3 or 4 hours…but I have a really nice chance because there is almost nobody in that beach, because it is nearby borderline about South Korea and North Korea…

Ian-John: How long was the final recording?

H: I can chop just 5 minutes because it is the longest file I can use…during (out of) 4 hours, just 5 minutes is usable…

IJ: How did you treat your recording during your performance?

H: I did a really simple job…just loop the things…just loop it and cross-fade it, and use just the simplest effect I think…reverb, delay and filtration, that’s all.

IJ: Did you use any other sounds in the performance?

H: No, not at all…just use two tracks, footprints and wave and simple effects. I use a laptop and hardware controller which interacts with my laptop, so I should link the things…performing on the stage is a kind of improvisation…so technically it needs a lot of preparation, but about expression…as an artist, it is a kind of improvisation…I always make a space to improvise on the stage…

H: Everything is controlled by Abelton Live 9, I think it is the best DAW for field recording and real-time interacting with hardware. And my controller is a Numark Orbit which is a wireless controller, and it has a gyroscope so I can express about the wave (with) my body, …and I use another controller, …it is a foot controller which can connect with expression pedals.

Rémi Klemensiewicz Interview:

Rémi Klemensiewicz: well, first…now I don’t have a proper visa here in Korea, so as a foreigner I have to leave the country every 3 months and the easiest thing is, within a day, go back and forth to Tsushima Island (대마도), so from Busan you have these very fast boats…it only takes 1 hour…so all the recordings I used during the performance were made in this boat…and basically the reason why I made it is because the sound of the boats motor, it actually has very rich, wide and complex harmonies in it…so I just recorded while walking in the boat from the front to the back, getting close to the windows etcetera.

I used the Zoom H2N hand recorder.

Actually, I didn’t treat my recordings at all, but I did use different tracks. On one hand I had a long recording on the main speakers with this continuous motor sound drone. I also used very small and bad quality portable mp3 speakers where I also played the motor sounds, but with different qualities, like on one we can hear peoples voice, another one will be with a lot of vibrating sounds like of the window etcetera…All the recordings I used were like a base for me to work with live…I played live with different instruments and tools like a synthesizer, effect pedals, contact microphones and my voice as well to actually accompany this rich and harmonious boat sound that somehow gave me the direction that I had to follow. So, I somehow wanted the recorded sounds to lead me…I played various type of sounds with different textures, but mainly focusing on the tone…on the general harmony provided by the boat sound.

Well there is something very special about leaving a country to another, that are both foreign countries for legal reasons…now I am in this very uncertain, unstable and somehow dangerous situation…so when I got on this boat with this kind of mood, this kind of melancholy feeling, I really got emerged (in) the boat sound. So even though I was recording, I was still into the sound and somehow lulled by it. …the music I played live was somehow the music I had in my head when I was in the boat…on the other hand, in a more neutral and less emotional way…I really wanted to make people focus on the potential of the…can you say?…non-musical sounds…I don’t know, for me it’s really musical…and just playing with the sounds was a way to insist on the musicality of the recorded sound. So I think it is all about where your sense is, where your attention focus on.

The different performances as a whole were interesting, I think, because it was diverse…I think that what was important was to see the way the recording was actually used live.

Second Heard Sound Shop staff member:

My work is called “중고소리가게”, or ‘Second Heard Sound Shop’ and is a participation work where gallery visitors can access and use a library of about 70 field recordings that I have made myself over the last 13 or so years.

There are boxes of CDRs, each with 1 recording on it, …and these are next to maps which indicate the locations where each recording was made. People can search through the libraries, select recordings and play them on 1 of 8 portable home-use CD players that are also provided. There are no headphones, so the sounds are played through the small speakers, and must re-enter the already sound filled world. The idea is that more than 1 field recording can be played at the same time, and more than 1 person can use the library at the same time, so some kind of field recordings collage can appear in the space…so it is really an excuse to allow interested people to check out field recordings, and a tool for composition building. Although I label the recordings, and use maps, I actually think of the recordings as being very abstract objects…and the compositions made with them seem to me to be highly abstract.

The shop has been open in 3 locations so far, for about 5 weeks.

In the beginning I was using a portable tape cassette recorder, then a Sony MD recorder and simple stereo microphone…and now I use Sony PCM M10 recorders. I often travel by bicycle to locations where I hope to collect recordings, so I can’t really carry any large pieces of equipment.


Rémi talks about being compositionally led by the headphone heard sound as he moved through the confined space of a boat. Hanjoon’s improvisation takes its cues from the sense of timing and sonic textures of the ocean. Daeil employs the recording to give dynamic indications to the performers. Second Hand Sound Shop recognizes the basic un-organized, complex and hyper-layered nature of the sound world surrounding us.

Each piece is a network of layers. There is the layer of the recording itself…the perspectives from which the recording is made. The recording refers to something which appeared and was heard, a spatial and temporal ephemerality. There are contingent factors which led to its making; there is the enigma of our relationship to its content.

And there is the layer of how the recording is then deployed so that it can become audible as a recording, it’s ‘second hearing’. During the performance the field recording is then given as something to be listened to, the representation enters another context.

This recording itself gestures towards its own borders, towards what lays before the fade in, what was to be heard beyond earshot, and the space after the fade out (which is the space we now occupy).

The aspect of radical ephemerality that characterizes environmental found sounds appears again as an aspect of the performance. Through the performance field recording is exploited for the making of another temporal, ephemeral sound object.

Seoul / Chuncheon, South Korea 2016

all interviews and performance recordings made by ian-john
except 1. Lee Daeil ‘Markets’ 2013 ; 2. Lee Hanjoon ‘Gosung beach field recording’ 2016; 3. Rémi Klemensiewicz ‘Daemado Ferry field recording’ 2016

1:44 Introduction

2:40 Lee Daeil interview

7:15 Lee Daeil performance document

13:30 Lee Hanjoon Gosang beach recording

14:52 Lee Hanjoon interview

17:05 Lee Hanjoon performance document

22:50 Rémi Klemensiewicz field recording and interview
25:00 Rémi Klemensiewicz performance document

43:20 ian-john interview

47:02 ian-john performance document

Framework Radio #427

2013.06.30 [mark vernon]

this edition of framework:afield has been produced by mark vernon, in honour of his new work, location recordings by east midlands tape recording clubs (1959-1978), which is being released as issue #5 of our framework:seasonalseries, summer 2013 edition. if you don’t know, mark has spent many years documenting and communicating with the original members of the tape recording clubs that existed in that area at that time, and has produced a number of radio shows featuring sounds from their archives. this will be his first actual release on the topic, though, and we’re very excited to be able to present it as part of our ongoing series.

we’ll be sending out more details on the release soon, but it is available for preorder now, as usual in exchange for your donation of 20€ or more to framework radio. show your support!

this show, focusing specifically on the leicester tape recording club, features different material to what is found on the framework:seasonal release. a few words from mark on the subject:

This programme is dedicated to all those who venture out into the world clutching cables, spools and microphones, leaving the solid comforts of bingo, the telly and the wife. Lost in their endless quest for the elusive, the enchanting, the all satisfying object they seek – the right sound, with a good signal to noise ratio…

The past is often said to be a foreign country. This programme features audio postcards from some of the inhabitants. Active in the 60s and 70s, the Leicester Tape Recording Club was a club for tape recording enthusiasts united in their dedication to the art of recording sound. Like a latter day Mass Observation these amateur sound recordists sometimes unintentionally captured the minutiae of a now surreal suburbia. A forgotten world of bri-nylon, briar pipes and tank-tops met an arcane society who spoke of tape-speeds and soldering irons. We take a nostalgic (and occasionally humorous) look at the club and its members as their memories wow and flutter like their disintegrating reel-to-reel recordings. This is a story not just of a club but a community, a community of hobbyists, amateurs and charming personalities who captured otherwise long extinct phenomena like ‘The Golden Wonder Boy’. Memories are made of hiss…


this edition of framework:afield has been curated by john levack drever and produced by the students of his phonography course at goldsmith’s college, university of london, uk. some notes from the curator:
Short excerpts from a selection of this year’s Phonography students at Goldsmiths, University of London, a course that through the art of field recording explores the perceived interrelation between concepts of sound, noise, hearing, listening, environment, atmosphere, architecture, memory, space, event, site and nonsite, place and non-place. The course is run by John Levack Drever with assistance from Emmanuel Spinelli. Passages for the Ear has been compiled and mixed by Drever.

[Passages for the Ear]

0’00 Daniel Harvey Summer Solstice ­
An attempted study of the event and the attendees of the summer Solstice Free festival at Stonehenge, June 20th. By using binaural microphones to discretely record the interactions, and to enable the listener to experience the event more intimately, this study was to record the ebb and flow of the spontaneous and celebrated the ritualization of what a free festival stands for… I have attempted to show as much about the various groups that ubiquitously come together under a common ground and attempt to address the issues that arise when such a large group of people exist in such a small amount of space… The theme of contradiction and contrast is a main focal point of this study and one major point that dominates the whole atmosphere is what Will Self refers to as the ‘museumification’ and commercialization of the site by English Heritage itself.

3’28 Matthew Lawrenson West Coast Tours
A composition based around a series of field recordings I made on a trip to the west coast of America in the summer of 2014. As a tourist I experienced a series of snapshots of this vast country and was interested to see the composition that resulted from this brief immersion in American culture.

6’34 Jack Newton Saudade
This piece is comprised of layers that assimilate the present with memory and attempts to position the material in order to create a realistic interpretation of the present. The piece is mainly inspired by the feature film Lost in Translation as well as poetry that focus on experiences of nostalgia. The sound sources are recorded in several different locations that relate to each other and crossover as memories within the present.

10’05 Laura Clough The Loin Park
Does ecotourism really benefit the environment? What is mankind’s fascination with the exotic, and the tourism-tourist industry worker relationship? I think about these issues in relation to the popular tourist destination Lion Park, Gauteng South Africa, where I recorded the raw sounds for my piece.

14’30 Phoenix Martins Auditory Trainspotting
A nostalgic auditory view point of my early childhood memories of being on trains, wondering where the voice of “mind the closing doors” and “mind the gap” were coming from an hoping, I wouldn’t fall into the gap! Also encapsulating moments of tranquility, and merging the sounds of the trains with electronica to create textures and generate a feeling of other-worldly-ness. To achieve this, I collated field recordings from various train rides including, southern trains, underground and overground lines.

18’30 Jonathan Brennan A Reflection; Patient 1 & Patient 2
A hospital is a place that triggers vast depths of connotation. There are very few that live in today’s western societies who have not encountered such a place in one shape or form. It is a place of sorrow, fear, repair, shelter, understanding, confusion and more. And then even perhaps not a specific place at all, a “non-place”. “A Reflection; Patient 1 & Patient 2” 2 is an extended sound work that exposes the sonic textures of the modern hospital and explores the interactions between these establishments and their subjects.

23’36 Jonathan Coote
Can phonography go beyond representation and communicate political thought? Can it be used as agitprop? Field recordings include the TUC’s Britain needs a Pay Rise demonstration, 18th October 2014, national student demonstration Free Education, 19th November, and Karl Marx grave, Highgate Cemetery.

27’50 Calum Lynn
I have been exploring the subject of energy production, and how it intersects with the liminal, post industrial landscape, in this case, South East Northumberland. A main aim of my composition was to focus on the sound of electricity producing wind turbines; a regular sight across rural and semi-rural Britain. The visual impact of these structures is well noted, for both their uniform and arguably iconic appearance, and the controversy that arises when they’re placed in rural areas deemed to be naturally beautiful. However, the sonic aspect of wind turbines is often unacknowledged, in part due to their inaccessibility and exposed placement. I wanted to use the sound of these structures as a way of exploring present day energy production in an area that was until recently so reliant on the heavy industry of mining and traditional coal fired power stations… I wanted to explore these accidental sonic implications of renewable energy, as well as how they fit into the existing histories, geography and sense of place within the region, also exploring the links between industrial, rural and urban, which have become increasingly fluid in post-industrial society; outlined in this region by the adaptation of former quarries, collieries and power station sites into nature reserves, blurring the boundaries of what constitutes ‘real’ countryside.

34’30 Joseph Smith
All the sounds revolve round a central idea of cold and hot. The thought that Iceland seemed to be rife with the two extremes hit me as I was watching the Northern Lights shimmer through the haze of sulphurous smog from the tub of 40°c geothermal waters in which I sat, while my face and hands were slowly frozen solid by the -15°c wind chill… The intentions of my project were to explore the sounds of a remote place, be they alien or familiar and try to discover a musicality that runs through them all in the creation of a hyper-real soundscape.

36’30 Tom Moore
I set out with the intention of creating a piece based on quite raw, unedited natural sound – local wildlife, weather, effects of the seasons, the river itself at various points. Through reflection on the process of actual field recording I reconsidered my original approach. I settled on creating a piece more reminiscent of a soundwalk, or rather a ‘sound-journey’. I found myself concentrating on capturing sounds purely for their aesthetics, even interacting with environments to enhance these sounds. I recorded footsteps in different places, threw logs into the river to create splashes, and opened different metal gates as I walked. The field recordings were made in rural mid-Norfolk in December 2014.

41’00 Emily Ady A Daughter’s Response – I used this project as a way of exploring two completely different worlds and soundscapes by comparing and contrasting the physical sound worlds, narrator’s familiarity and reaction to surroundings and the context in which we as narrator and audience stand in these worlds. I also wish to explore both sets of surroundings by looking at movement, the exploration of the space and recording techniques. I also explore the themes of familiarity and alien, mother and child relationships, personal narration, noise, “favourite sounds”, archive and how the overall structure and techniques relate to these themes.

42’30 Samuel Hatchwell
The perceived concepts of space and varying types of space play a serious role in its relationship with social anxiety. Different theories on space such as topophonobia and ochlophobia, with specific relevance to claustrophobia, agoraphobia and enochlophobia talk about an association with fear and anxiety within certain soundscapes due to multiple different factors. For example, a space with a higher level of noise pollution may incite fear for a topophonophobic if that person is prone to claustrophobia or social anxiety. This inherent fear associated with certain spaces and their sounds is what drove the intention for the composition.

The composition explores these relationships and how different social atmospheres affect subjects prone to social anxiety. As well as this link, the composition also looks at the connection between theorized sound concepts and the effect they have on the subject within the inhabited space. The piece acts as both a commentary on these relationships and as a social experiment on how anxiety functions under consistent conditions in varying spaces.

48’30 Rodrigo Barbosa Camacho Sublimation
“Last call, towards being the space”
 – At some point all mothers must have called for a son or a daughter so they shall come for dinner. Everyone knows what’s that, however we all do it differently. There is a lot in it to do with style! … And not that much with circumstances.

The space is all a stage and there are no stages in this place. Everyone has something to do, and there they go, meeting their affairs. We talk, we eat, we play, we fuck, we eat some more, we complain about the bad things, we send kisses here, we send kissed there, we clap and watch some cruise-ships through some palm trees. All children grow and become parents; then parents grow and become plants. In the end of the day, all is gasoline so one may go to work, but there are plants called corn, that if decently ground and cooked, with broad beans and nice dark green cabbage, could not be better than goodness!

Craving now for a juicy tuna stake.

this edition of framework:afield has been curated by john levack drever and produced by the students of his phonography course at goldsmith’s college, university of london, uk.


after weeks of folding/burning/stamping madness, things have quieted down at framework HQ. all the initial orders and artist copies of framework500 are winging their way around the world, to arrive soon in the hands of adoring fans, and we are at the ready with further copies and envelopes to fill all subsequent orders posthaste. that said, i can confirm that i have only TWO early adopter thank you packs left, so if you would like your copy of framework500 to be accompanied by extra badges, stickers, drawings, rust, and notes then order your copy NOW! if you’re concerned, drop me a quick email, and i will confirm that one of them is yours.
use the paypal buttons to the right to donate 40€ or more to get yours!
(come on people, do it. we need you.)

this edition of framework:afield has been produced in the philippines by dayang yraola. for more information see dayang’s website at producer’s notes:

Project Bakawan is an arts festival held at the University of the Philippines-Diliman. It is a festival that took inspiration from sustaining and sustainability of the mangroves, which is a crucial component of the ecological balance in the Philippines.

Listening Terminals is the offering of Project Bakawan’s Sound and Movement Component.

Listening terminals is an archiving project, which recorded sounds from different parts of Metro Manila. Materials were gathered through crowd sourcing from social media.

Listening terminals is also a composition project, wherein musicians were invited to compose works using the gathered sounds. Later movement artists were invited to compose performance using the composed music. In the 1 month exhibition, visual artists are also being invited to react and interact with the listening terminals that are installed on the Academic Oval of the University.

Like most field recording projects, listening terminals is an attempt to isolate the different sonic layers of a very crowded city , to direct more attention towards them for purposes of awareness, and hopefully as source of creative inspiration.

[artist (country)]

Erwin Fajardo (Philippines)
Maria Christine Muyco (Philippines)
Juro Kim Feliz (Canada/Philippines)
Michael Graeve (Australia)
Motohide Taguchi (Japan)
Thomas Reifner (Germany)
Kamal Sabran (Malaysia)
Charlies Fournier (Philippines)

after weeks of folding/burning/stamping madness, things have quieted down at framework HQ.


we continue our framework500 celebrations with the 2nd disc of the upcoming framework500 release, whose works we mixed with one another and with another selection of sounds from the aporee soundmaps. we began this show with a framework introduction recorded for us by regular contributor, and contributor to framework500, felicity ford, who captured the moments during which she constructed the framework500 badges that will go into the early adopters pack, which each of the first 50 people to pre-order the release will receive. it includes felicity’s badges, stickers, drawing, postcards, and plenty more goodies – pre-order yours now and nab one for yourself!
the framework500 release page is now online, so you can read artist and track notes, look at pretty pictures, and hear more about the process of creating this glorious object. and then, when you just can’t resist any longer, you can click the shiny yellow DONATE button on the right, enter a sum equivalent to 40€ or more, and get your name on the pre-orders list, with all the other true-blue framework lovers.

this wednesday we go to räpina to witness and document to production of the paper that our sleeve will be constructed from, the recording of which will be included on the release – keep an eye on our facebook page for images and sounds from that adventure!

[time / artist / track / album / label]

00:00 – 08:14 / felicity fold / framework introduction, recorded in the the uk

02:43 – 17:02 / kodama / cauldron / framework500 / framework editions,

12:29 – 19:26 / ben owen / stairwell bergen st / framework500 / framework editions,

17:42 – 21:12 / asmus tietchens / deb 1b / framework500 / framework editions,

20:30 – 25:44 / flavien gillié / moineaux sur le balcon / sal rei, cape verde / aporee soundmaps,

22:43 – 29:09 / keith de mendonca / echo / framework500 / framework editions,

26:56 – 34:02 / eric cordier / les gardiens de la forêt / framework500 / framework editions,

30:09 – 39:27 / maksims šenteļevs / river styx / framework500 / framework editions,

38:05 – 41:50 / chloé despax / animal market / guamote, equador / aporee soundmaps

40:25 – 46:30 / dallas simpson / tunnel improvisation (edited mix extract) / framework500 / framework editions,

43:41 – 47:54 / martin clarke / varanasi / framework500 / framework editions,

47:00 – 51:00 / miloš vojtěchovský / carneval, masopust / czech republic

50:12 – 54:36 / toy.bizarre / ingeos / kdi dctb 295 [a] / framework500 / framework editions,

52:39 – 57:00 / jonathan coleclough / köln fork / framework500 / framework editions,

we continue our framework500 celebrations with the 2nd disc of the upcoming framework500 release, whose works we mixed with one another and with another selection of sounds from the aporee soundmaps.

Framework #499

This edition of framework:afield, entitled ‘train’, has been produced in germany by regular contributor d. l. lutz. notes from the producer:
This earscape mainly features field recordings from a long-distance train in Germany going from Hamburg Main Station to Berlin Main Station, passing small towns, forests and river Elbe, meeting and overtaking other trains, allowing to hear horses and birds in the meadows, moving very slow and very fast… This ride is compiled for everyone who suffers from wanderlust and likes wind and track noises and bad conductor’s announcements because it reminds him / her of the pleasant, unburdened state of travelling. But without the visual information that the carriage window provides, the typical train sounds of metal, speed and echoes of the surroundings develop an unfamiliar, and often mysterious, life of its own.

By superimposing fragments of the fascinating two-hour post-modern composition “Music For Checking Emails” by Wolfgang Mitterer from Austria, the atmospheric, suspended, reminiscential aspect is increased. Mitterers topic is a different one, but his work is also dealing with the fragmented surface of this modern world – which happens to be an acoustical fit that works surprisingly well. Listen loud and have a good journey!

D. L. Lutz, born 1969 in Germany, is a practising architect, writer and sound artist living in Berlin.

[sound sources]

D. L. Lutz: IRE_B-HH_HH-B_140518; self-published
Biosphere: Translation; from: Autour De La Lune, Touch Records, 2004
Biosphere: Microtunneling; Lyd/By sound installation in Aarhus / Denmark, 25 Aug 2001; download from (link deleted)
The Vancouver Soundscape (World Soundscape Project): Music Of Horns & Whistles; from: David Toop, Ocean Of Sound, virgin AMBT10, 1996
Wolfgang Mitterer: Music For Emails… Giving The Illusion Of Depth; fragments of the following parts: Background 01, 13, 04, 15, 11, 14, 03, 10, Bad Receiver & Hello Mr Bruckner; col legno WWE 2cd 20289, 2009

This edition of framework:afield, entitled ‘train’, has been produced in germany by regular contributor d. l. lutz. notes from the producer:


Kodama (Hitoshi Kojo and Micheal Northam), Eric La Casa with Jean-Luc Guionnet, Jehanne Thibault, Yair Lopez, sounds from the Aporee Soundmaps by Carlo Patrao, Flavien Gilliē, OR Poeisis, and Henrik Schroeder, and a framework introduction recorded in India by Martin Clarke.

well folks, we’re getting very close. out next regular edition is show #500! and we have some celebrations planned for the rest of the year. first, of course, the show itself, which will be the first of a run featuring new and unheard works contributed by a group of the artists who have helped to make framework what it is. these works will then be released on the latest project by framework editions, framework500, harking back to the 4-disc release we made to celebrate our 250th show in 2009, framework250. for framework500 we have invited artists from framework250 back (the first time we have repeated artists in our release history) to contribute again to a new celebratory release. this time we have three discs, again in special origami packaging, with works by jeph jerman, asmus tietchens, peter cusack, dallas simpson, phill niblock, felicity ford, eamon sprod, richard garet, jonathan colecough, loren chasse, and 18 more! this release will again be available only through framework radio, in exchange for your generous donations. stay tuned for images and track details very soon!
meanwhile some great sounds in this show. long extracts from a the immense 4-cd project by éric la casa and jean-luc guionnet entitled home : handover, which involved interpreting and reinterpreting domestic spaces through documentation, discussion and, performance. also, another beautiful handmade release from the omnimemento label, a recent work by michael northam and hitoshi kojo’s kodama project (kodama and jean-luc guionnet also feature on framework500). first appearances on the program by french artist jehanne thibault and mexican artist yair lópez, whose cd release we featured is also available for free download from his bandcamp page (link below). and another selection of recent favorites from the aporee soundmaps, as chosen by aporee users.

[time / artist / track / album / label]

00:00 – 03:28 / martin clarke / framework introduction, recorded in india

02:18 – 14:26 / or poeisis / nocturnal, rain / kyoto, japan / aporee soundmaps

06:06 – 16:45 / kodama / archaea / phxa / omnimemento,

12:09 – 22:10 / éric la casa & jean-luc guionnet / ii.4 – synthesis / home : handover / potlach,,

18:28 – 27:13 / carlo patrão / santa cruz sports field / são nova, portugal / aporee soundmaps,

21:07 – 30:56 / yair lópez / [title track] / paisaje sonoro del malecón de puerto vallarta / [self-release],

24:57 – 36:53 / jehanne thibault / le réveil / eskifjörður / kaon,

33:17 – 45:28 / kodama / photon / phxa / omnimemento,

36:39 – 41:52 / henrik schroeder / town hall, citizen center / berlin, germany / aporee soundmaps

40:55 – 51:39 / éric la casa & jean-luc guionnet / iii.4 – synthesis / home : handover / potlach,,

42:01 – 54:13 / jehanne thibault / le naufrage / eskifjörður / kaon,

46:42 – 54:56 / yair lópez / cooperativa de pescadores / paisaje sonoro del malecón de puerto vallarta / [self-release],

53:10 – 57:00 / flavien gillié / under the bridge / anderlecht, belgium / aporee soundmaps /,

Kodama (Hitoshi Kojo and Micheal Northam), Eric La Casa with Jean-Luc Guionnet, Jehanne Thibault, Yair Lopez, sounds from the Aporee Soundmaps by Carlo Patrao, Flavien Gilliē, OR Poeisis, and Henrik S


listen to this edition here:

this edition has been produced in the phillipines by dayang yraolo, and consists of two parts: 'listening to my music', and 'ikotoki'. for more information see dayang's website at producer's notes:

Listen to My Music

Philippine composer and ethnomusicologist, Jose Maceda said “If you wish to honor me, listen to my music…”

This is the inspiration for the Listen Project, which was staged as an exhibit at the University of the Philippines Jorge Vargas Museum and Filipiniana Research Center in July 2013.

In this exhibit is a gallery titled ‘Confluence’. This gallery contained works of composers that used indigenous field research recordings and new music compositions of Jose Maceda found in the Center for Ethnomusicology of the same University.

This is the first attempt by the Center for Ethnomusicology to engage non-University-based contemporary artists to use the Maceda Collection in their holdings. Composers are musicians who are known in popular music scene in Manila.

Ikotoki Para

Ikot literally means to go around. It is also the name of jeepney service that goes around the Campus. Toki is a colloquial term that means to counter flow. It is also the name given to the jeepney service that counter flows the Ikot route. Para is what you say when you want the jeepney to stop.

Ikotoki Para is a project that collected, collated and composed sounds from the Campus of the University of the Philippines for over three months.

The University of the Philippines Diliman Campus is a university town. It is 400 hectares of contained environment with patches of age-old trees. During the production for Ikotoki Para students were asked to record different sound producers on campus. It included the flora, fauna, machinery, vehicles, electronic devices, people and other possible sound sources.
This exercise encouraged participants, the sound gatherers, to pay attention to their sound environment, at least during the data gathering. Composers where then encouraged to compose using the collected materials as either elements or inspiration for their composition.

This project is inspired by composition of Prof. Maria Christine Muyco’s ‘Jeepney Orchestra’ and the project of the U.P. Department of Biology that gather sound of fauna living on Campus.

again, we are always looking for new material, whether raw field recordings, field recording based composition, or introduction submissions. we are also now accepting proposals for full editions of our guest curated framework:afield series. send proposals or material, released or not, on any format, to the address at the bottom of this mail. if you have any questions, please don't hesitate to get in touch!



(Listen to My Music - all works are excerpts)
- Armi Millare
- Caliph8
- Erick Calilan
- Jing Garcia
- Cris Garcimo
- Malek Lopez
- Paolo Garcia

Ikotoki Para (all composers are students of U.P. College of Music)
- Feliz Macahis
- Jairus Saldejeno
- Jordan Peralta
- Karl San Jose
- Minich Cruz


this edition of framework:afield has been produced in scotland by regular contributor mark vernon. note from the producer:
Things That Were Missed in the Clamour for Calm
Produced by Mark Vernon

A version of this latest work by Mark Vernon is due for imminent release on Ákos Garai’s 3Leaves label. ‘Things That Were Missed in the Clamour for Calm’ is a soundscape composed from field recordings made in Sri Lanka between October and December 2013. The work was produced during a 6-week residency at Sura Medura, Hikkaduwa on the South West coast of the country. Other recording locations included; Galle, Ambalangoda, Matara, Debera, Yala, Bundala, Udawattakale, Kandy, Sigiriya, Sinharaja, Mirissa, Unawatuna, Welligama and Colombo.

The residency was supported by UZ Arts and Creative Scotland.

“There is an odd looking machine in the New Hindu Kovil on Sea Street in Colombo kept within a rusty cage to protect it from rats. When the machine is switched on a motor kicks metal clappers and drumsticks into operation. In perfect rhythm, the clappers ring on the bells and cymbals, and the drumsticks mark out a background tattoo on the drum. Its purpose is to banish unwanted and intrusive “bad” exterior sounds; the tuk tuk horns, the quarrelling street traders, the general commotion of the material world. The repetitive mechanical mantra of drum, bell and cymbal effectively drowns out all other sounds, using one form of noise to counteract the other. Thus is created a meditative space, a place for contemplation and prayer amidst the hubbub of quotidian reality”.

this edition of framework:afield has been produced in scotland by regular contributor mark vernon. note from the producer:
Things That Were Missed in the Clamour for Calm
Produced by Mark Vernon


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Andreas Usenbenz

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