issue #2 ::: spring 2012

01 ::: jd zazie ::: berlin philharmonic rehearsing ::: 01:22
02 ::: sala ::: arboreal burial, pt.2 ::: 09:26
03 ::: james wyness ::: 6 listening environments ::: 13:30
04 ::: dave phillips ::: you do not have to pretend to be what you are ::: 05:56
05 ::: aymeric de tapol ::: bass boat ::: 09:54
06 ::: anton mobin ::: time to move ::: 06:19
07 ::: camilla hannan ::: straddie ::: 08:38
08 ::: pali meursault ::: offset, flux #1 ::: 07:27
09 ::: lasse-marc riek ::: judenbad, friedberg, germany (jewish bath) ::: 14:57

01 ::: jd zazie ::: berlin philharmonic rehearsing ::: 01:22

Spring time!

This abstract and free conversation between the instruments of the Berlin Philharmonic was recorded in 2006.
It was the end of a long rehearsing day, before the concert at night. Some musicians were leaving the stage, others decided to keep on practicing some specific parts of the score or some transitions.
The beautiful concert hall was reshaped by those unexpected amazing sounds.
Like the waking up after a long winter.


02 ::: sala ::: arboreal burial, pt.2 ::: 09:26

The English word “arboreal” came to me years ago when I saw the English artist Austin Osman Spare’s drawing “Arboreal Cultus” which literally blew me away. Then it was just a matter of time before this word and mystical concept appeared in Sala’s soundart, especially knowing my obsession with the voices of the trees in the wilderness and wind: creaking, squeaking, cracking, rubbing against one another…

While composing this part of “Arboreal Burial” I had the idea (which came from a dream) of some kind imaginary arboreal last rite, a surreal ceremony in which the living trees bid farewell to their dead fellows and slowly escort them to the river (perhaps to get new lives as boats). Not too mystical, keeping in mind that the inspiration comes from AO Spare.

Field material collected 2010-2011, composed 2012 , exclusively for Framework Seasonal.


03 ::: james wyness ::: 6 listening environments ::: 13:30

the barn, highgreen manor, tarset, north northumberland

hillside intervention, llandegley rocks, mid-wales

sheep bothy, by highgreen, tarset, north northumberland

beach walk, tràigh a’ bhìgeil, isle of eigg

cave, tràigh a’ bhìgeil, isle of eigg

lakeside intervention, elan valley, mid-wales


04 ::: dave phillips ::: you do not have to pretend to be what you are ::: 05:56

the piece starts with the sound of hail hammering on my room’s window and blinds. the following main sound body is recorded in my parent’s staircase (photo by michael phillips) which i walked up repeatedly. embedded in that you’ll hear nathalie singing in her bathtub and a transvestite, high as a kite, stumbling around on zurich’s notorious langstrasse just outside my window, with an otherworldly look in his/her eyes, he/she seemed somewhere on a far off planet and let out these bloodcurdling yelps and shouts, which i looped.

assembled at diener40 zürich march 2012.


05 ::: aymeric de tapol ::: bass boat ::: 09:54

the three first sounds were recorded on a small canal near antwerp, where there is a lot of boat traffic (petrol engines).
frederic atstadt and i tried to record the sub-bass of the motors of the small tankers without any other sonic activity (animals, cars, people).
we tried many different microphones in different locations at both day and night.
the sound material were afterwards cleaned and edited for the exhibition “le grand soir” by the french artist claude levêque in the venice biennale.
frederic has spatialized the sound on 6 studio 15 klinger favre speakers and a velodyne subwoofer (cut at 8hz). the bass boat crossed (with doppler effect) the french pavillion like a huge animal.
the rest of the sounds were recorded during the european sound delta trip on a rhine canal boat.
the tones are the harmonics from the motor of the little canal boat.
the first voice is a hungarian priest recorded in brussels, and the second voice is indicating the water level in the rhine canal where there is dangerous heavy traffic.
the ‘boom’ sound is a piezo mic attached to the window of the rhine canal boat.

note: it may be best to listen to this piece with headphones, or with a bit of extra volume if you have a subwoofer….


::: anton mobin ::: time to move ::: 06:19

All sounds Recorded by Anton Mobin in Berlin, January 2010 and Brussels, December 2010.
Additional tape head sounds from transport tickets by Anton Mobin.
Mixed at the Maïzing Studio Paris, 2012.
Produced by Anton Mobin in 2012 for framework seasonal ::: spring 2012.

Anthony Baron (1979)
Paris based sound artist
It is under the name of Anton Mobin he produces his radio creations and he occurs on stage. radio producer and improviser, Anton Mobin’s activities evolve in two universes : improvised music and radio art.

The field recording and the sound effects are the essential elements of his work of composition.
His initiative fits in the continuity of music concrète : his approach is directed on the listening of the sounds of the everyday life and their use in the radio composition, with the aim to develop an “extensive” music concrète .

Diversion and manipulation of sound objects, trivial fragments and reorganization of the reality are so many ways investigated in his creations. Anton Mobin develops his own methods of composition in which he experiments different constraints of place, time and also technical to produce a unique and personal radio art.

“We are always in microcosms with Anton Mobin, small things that become audible, manipulations that ultimately create a kind of black hole and around it, a whole sound universe is organized : all will be suck up. Tension, respiration, rhythmic articulation, material analog, remote space.” (Darby Mullins, nov. 2011)


07 ::: camilla hannan ::: straddie ::: 08:38

Taken primarily from field recordings made in and around Stradbroke Island in southern Queensland, Australia in 2010. I had just spent a week there on holidays and made some recordings in the bushland there. I wasn’t happy with any of them. Then we were taking the ferry back to the mainland and that’s when I got excited. The humming and thumping of the engines and pipes sounded so joyous to me.

image: Eamon Sprod


08 ::: pali meursault ::: offset, flux #1 ::: 07:27

This piece is one track of a work in progress using recordings of offset rotary presses. It explores the patterns, cycles, dynamics and industrial energy of the mechanical sound matter with a very much musical intention. The album ‘Offset’ will be released as an LP in the coming year.


09 ::: lasse-marc riek ::: judenbad, friedberg, germany (jewish bath) ::: 14:57

Jüdisches Ritualbad (Mikwe)

Location recording:
Date: 28.2.09
Duration: 14:57
44/16 (mono)

1x Sennheiser MKH416

1x Sennheiser MZW60-1
1x Sennheiser MZS 20-1
1x Sennheiser MZH60-1
1x Foam windshield

1xSound Devices 722


Friedberg (Place):,_Hesse




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