Gegen Stumpfsinn
und Langeweile

aus dem Äther.


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

Framework #494

welcome to the beginning of framework’s 2015 programming! we’re back after a much-appreciated winter break, some time to shovel snow and heat the fires, and to begin preparations for our upcoming framework500 project, celebrating our upcoming 500th edition! stay tuned for more information about that in the coming weeks.
meanwhile, just before our break we released the 7th issue of our framework:seasonal series, winter 2014, featuring great works by a great collection of artists – if you haven’t picked up your copy already, do so now by visiting the framework website and donating 20€ or more via the donations bar on the right.

and a new year means a new batch of framework introduction is needed! i’ve only got one or two waiting in the wings, and i need new intros every month, so grad a recorder and get out their and record your framework intros! click here or intros in the menu above for guidelines.

some great sounds to start off our year – acoustic experiments with sine frequencies inside an abandoned cistern by bryan eubanks, wonderful metallic resonances by martin kay, rattles and sighs of ventilation by jonáš gruska, and concrete composition by natasha barratt, all preceded by a framework intro recorded for us in australia by regular contributor (and contributor to the latest framework:seasonal issue) jeremy hegge.

[time / artist / track / album / label]

00:00 – 07:23 / jeremy hegge / framework introduction, recorded in australia

03:00 – 09:08 / martin kay / abandoned oil tank – yeravan / all things metal / 3leaves,

07:39 – 12:09 / natasha barratt / kernel expansion part I / peat + polymer / 3dB,

10:10 – 20:12 / bryan eubanks / pulses / from the cistern / gruenrekorder,

16:02 – 20:37 / jonáš gruska / liquid pressure control – valve dances – scared piece of metal / vzduchotechnika / LOM,

18:05 – 23:25 / natasha barratt / kernel expansion part II / peat + polymer / 3dB,

22:58 – 27:30 / martin kay / rain on iron gutter – futuko tamagawa / all things metal / 3leaves,

24:28 – 37:15 / bryan eubanks / sine series / from the cistern / gruenrekorder,

29:25 – 35:36 / natasha barratt / Lima Mosaic / peat + polymer / 3dB,

33:05 – 39:58 / jonáš gruska / air is flowing – valve dances II – valve dances III / vzduchotechnika / LOM,

37:56 – 45:10 / martin kay / stadium support pillar – docklands, melbourne / all things metal / 3leaves,

44:20 – 52:04 / natasha barratt / untitled two / peat + polymer / 3dB,

48:24 – 55:47 / bryan eubanks / five tuned tubes / from the cistern / gruenrekorder,

50:55 – 55:02 / jonáš gruska / relief valve – defined ventilation space – breathing inlet nozzle / vzduchotechnika / LOM,

54:28 – 57:00 / martin kay / wurundjeri way overpass – melbourne / all things metal / 3leaves,

welcome to the beginning of framework’s 2015 programming!

Framework Radio bei Radio freeFM

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 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 sendet jeden Donnerstag zwischen 23-24 Uhr.
Weiterführende Informationen und den Podcast findet ihr unter

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