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::: 2012.11.10 ::: boston, usa :::

::: performance @ studio soto :::

w/ nmperign & ernst karel

saturday, 10 nov.
studio soto
10 channel center street
$10 suggested donation

Join Studio Soto for an outstanding evening of rare performances by American expat sound artist Patrick McGinley (aka murmer), and the renowned duo Nmpreign (Bhob Rainey and Greg Kelley), along with the sterling Ernst Karel.

Patrick McGinley (aka murmer) is an american-born sound, performance, and radio artist who has been based in europe since 1996. since then he has been building a collection of found sounds and found objects that has become the basis of all his work. in 2002 he founded framework, an organisation that produces a weekly field-recording themed radio show, broad- and podcasting around the world. in 2005, he began working closely with the artist-run organisation MoKS in southeast estonia, relocating there permanently in 2009.

most recently mcginley has been giving presentations, workshops, and performances based on the exploration of site-specific sound (with the revenant project) and sound as definition of space. in live performance his interest in field recording has developed into an attempt to integrate and resonate found sounds, found objects, specific spaces, and moments in time, in order to create a direct and visceral link with an audience and location. murmer’s work is about small discoveries and concentrated attention; it focuses on the framing of the sounds around us which normally pass through our ears unnoticed and unremarked, but which out of context become unrecognisable, alien and extraordinary: crackling charcoal, a squeaking escalator, a buzzing insect, or one’s own breath. he works equally with spaces, objects, resonances, and people, in composition, performance, or simply collective action and experience, in exploration of perception via attentive listening.

nmperign began in 1998 as the trio of Greg Kelley (trumpet), Bhob Rainey (soprano saxophone) and Tatsuya Nakatani (drums and percussion). This line-up recorded the group’s debut CD, and toured the US before Nakatani left to pursue solo work. As a duo, Kelley & Rainey forged a unique style of improvised music informed as much by electronic music and noise as by the traditions of classical music (which Kelley studied at the Peabody Conservatory in Baltimore), modern composition (which Rainey practiced at the New England Conservatory), punk, and free improvisation. The duo toured extensively in the late 90s and early 00s, highlights of which were documented on a CD published by Ralf Wehowsky‘s Selektion label. They would hone the nmperign sound to a sharp point that would bring them into contact with people who would become frequent collaborators: Gunter Mueller, Axel Doerner, Andrea Neuman, Jerome Noetinger, Lionel Marchetti, Damon & Naomi, Le Quan Ninh, and most importantly Jason Lescalleet, with whom they would record two albums as a duo, and each work on an album with individually. — from Intransitive Recordings

In his audio projects, Ernst Karel works with analog electronics and with location recordings, sometimes separately, sometimes in combination, to create pieces that move between the abstract and the documentary. As an improvisor and performer on trumpet and/or analog electronics, or as a composer, he has participated in recordings released on and/OAR, Another Timbre, BoxMedia, Cathnor, Dead CEO, Formed, Kuro Neko, Locust, Lucky Kitchen, and Sedimental record labels, among others.

::: one square meter: maribor riverside :::

one square meter is a project in micro-exploration. all sounds were recorded within a small radius of one another, a study of the different resonances perspectives, and focuses of a small space. for this project the chosen spot is on the riverside of the drava in maribor, the ruins of an old staircase that once led down to the water. the site contains the support poles for the now-gone staircase handrails, metal guardrails and fences, discarded bottles, reeds and cables dipping into the water, concrete walls, and life (insects, birds, fish, etc).individual sounds can be heard from the map on the right. here as well is a composition made using the recordings:

one square meter: maribor riverside is one outcome of the maribor maps project, a collaboration with udo noll, creator of the aporee soundmaps, and as we speak, which was a part of maribor capital of culture 2012.


::: cd release, framework 1-4 :::

now available from malaysia’s herbal international:

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.

all sounds found between 2003 and 2011.
vocal performance on framework 3 [swarm] improvised on a café terrace in the south of france by mari kalkun and piibe kolka.
sleeve design by lewisdoesdesign.com, with images by patrick mcginley.

disc 1
1 ::: framework 1 [paris cuts] ::: 14:19
2 ::: interlude [tengmalm’s owl] ::: 3:00
3 ::: framework 2 [ce soir on va se faire chier] ::: 32:57
4 ::: epilogue [seaside flagpoles] ::: 4:00

disc 2
1 ::: framework 3 [swarm] ::: 35:00
2 ::: interlude [thunder & cranes] ::: 3:00
3 ::: framework 4 [4 spaces] ::: 15:00
4 ::: epilogue [irrigation drain] ::: 4:00

2 x Audio CD
110 minutes+
Release date: October 2012

::: framework:seasonal ::: autumn 2012 edition :::

the framework:seasonal series of fund-raising audio releases continues with a very special issue #3 – the great chris watson, who, we’re sure, needs no introduction amongst framework listeners, has donated a single-take, 2.5 hour field recording from the rainforests of borneo, recorded and published at its full length at higher-than-cd audio quality. this stunning recording has never before been released, and has been donated by the artist in support of framework radio. it is available only through framework, in exchange for your donation of €20 of more on the framework website.

each dvdr is slow burnt onto the highest quality taiyo yuden archival discs, and is hand-stamped with the custom-made image of a borneo-native mushroom, in keeping with the previous issues of the seasonal series. each is housed in an offset and folio printed sleeve from a local printing press, on paper from a local papermill, both here in the southeast estonian town of räpina. the insert as well is printed on additive-free paper from the räpina mill. these audio dvdr’s will play in any standard dvd player, or on any computer.

the details:
Sunrise in the Sukau rainforest
Recorded during October 2011 by the river
Kinabatangen, Sabah, Borneo from 0430h

Sennheiser MKH 8040/30 middle and side array to a
Nagra ARES Pll recorder at 48Khz 16 Bits .wav

The Sukau rainforest is a relatively narrow strip of primary forest either side of the banks of the river Kinabatangen in Sabah, Borneo. Access to the forest floor is very difficult as there are no trails, however at the back of the lodge where I was staying there was a narrow old and decaying boardwalk that led, snake like, through the dense undergrowth and out into what felt like another world. Each morning for over a week I left my lodge around 0400h and set off carefully along a zig zag pattern of soft and splintered planks into the velvet darkness. Either side of the red glow from my head torch fireflies and other unknown bioluminescent insects blinked and flashed their alien languages whilst dead ahead the small piercing red reflecting eyes of hunting bats streaked, missile like, directly towards me. On several mornings my GPS guided me to a favourite looping curve at the furthermost point of the 2Km trail where I could stop and fix my mikes in a tree whilst trying to bat off the myriad host of mosquitos that quickly find anything warm blooded that is stationary. I rigged and set away the recording before quietly moving off, my ears straining to hear the distant songs of gibbons, the shrieks of macaques and the low whistle of a pitta. Sunrise, such as it is 30m below the canopy, is also accompanied by the slow drip of  condensation percolating down through the grey green gloom from a canopy 30m above as the forest is slowly revealed. – Chris Watson

Sunrise in the Sukau rainforest is published by Touch Music

to order your copy donate €20 or more by clicking here, or visiting http://www.frameworkradio.net. we’ll be in touch to confirm the best shipping address. copies of previous issues of framework:seasonal are also still available – donate €20 or more per issue and let us know which ones you’d like!

support framework radio and donate!

::: 2012.11.06 ::: allentown, usa :::

::: performance @ muhlenberg college :::

tuesday, 6 nov.
12:45 (afternoon)
the center for the arts galleria
muhlenberg college
2400 chew st.
free entry

::: 2012.10.16-21 ::: taipei, taiwan :::

as part of playaround 2012

The technology required for exploration of our sonic environment (digital sound recorders, microphones, editing software) is now readily available and affordable, but the most important and powerful tool we have is often overlooked: our ears. In this workshop we will return to this most basic hardware and explore perception via listening itself, in a detailed consideration of our surroundings via sound. Although we will of course make use of the technology available to us, our focus will be on the act of listening itself in an attempt to gain a greater understanding of what is arguably our most important sense.

We will explore both active and passive soundscapes: passive through the act of field recording, as we explore the obvious and hidden sounds of small spaces in an exercise called ‘one square meter’, in which participants will find and document different sounds, resonances and perspectives from within a defined radius, and active through improvisational sonic explorations as we create unamplified group performances in found spaces using only the materials found therein. In this way we will give voice to spaces whose resonances may otherwise remain silent.

Further description of some of our activities:

– durational listening: One of out first exercises will be to explore our own perception of sound through an extended session of listening to field recordings and found sound. We will explore and discuss perceptions of time and space and how they are affected by sound, notions of self-awareness, sensitivity to certain types/qualities of sound, and identification vs. anonymity of sound.

– one square meter: Participants will choose a small defined space, natural or urban, and explore it’s sonic aspects in detail through various recording techniques (normal microphones, contact microphones, hydrophones, miniature microphones inside objects, etc), making an extended sonic survey of a small space. For an example see this Maribor, Slovenia location on the aporee soundmaps.

– active/passive blind soundwalks: Participants will lead and be led through various environments with eyes closed, both through the existing soundscape of our natural environment, and through our own created soundscapes which we will construct through our acoustic improvisations and explorations. In this way we explore the intensity and detail of listening to an environment without seeing it.

– revenant actions: for the ‘active’ portion of our workshop, we will choose locations and explore them sonically through intervention/interaction with the space. All spaces have resonance and materials, and we will examine what sounds we can eek out of a space using only the material found there and a collection of ‘resonant aids’, such as instrument bows, rubber mallets and sticks, etc. Tones from rubbed windows, bowed metal, percussive hollow objects, textures from dried leaves – these are just a few examples of what can be found in a chosen space. For more information on the revenant project, see http://www.revenantsound.net

In the end we will have a collection of field recordings and site specific performances that will be a document of our explorations.

::: 2012.11.09 ::: cambridge, us :::

::: presentation @ the film study center, harvard university :::

friday, 9 november
16:00 – 18:00
room 416, sever building

In this short workshop, location recordist and sound artist Patrick McGinley will present his experiments in small-scale sonic exploration. We will examine and discuss perspective, perception, attention, and focus through sonic surveys of small or unexpected spaces, as in his projects ‘One Square Meter’ and ‘Hidden Sounds’.

Light snacks will be provided. Free and open to the public — bring only your ears.


::: 2012.08.30-31 ::: maribor, slovenia :::

udo noll  (de)
with patrick mcginley (ee),
support by ana pečar, petra kaps  & andrej hrvatin (si)
sound maps
KIBLA, Ulica kneza Koclja 9

udo noll and patrick mcginley talking to carsten stabenow (de)
2012.08.30, 20:00

radio aporee is a platform for artistic research of concepts and practices in the field of sound, location and their specifications in space. two terms, periphery and resonance, build the main focal foundation, bound to sound and space and also to social and communicational viewpoints. the term periphery can be defined as a spatial or qualitative differentiation, as movement away from the centre, towards the borders. at the same time, every conscious perception builds peripheries, where the main focus lies in the centre of those peripheries. the term resonance defines two poles: the answer of the place or of the opposed to our mere presence or address, in contrary to the resulting muteness. do we succeed in establishing a fruitful relationship with the surrounding world or are we left out? field recordings as the main source and method of the willing approach towards places and situations can be read as communicative relationships: the recorded sound is, at best, the answer to the question, defined by our search and approach. in this case, resonance is the stroke of luck, where a contact with space and the world is established. conscious listening is the key and the access point to an intensified reception and experience of the surrounding world.


::: cd release, what are the roots that clutch :::

the great helen scarsdale agency has now officially announced the release of the first new solo murmer full length abum since 2007, what are the roots that clutch. from the agency’s announcement:

Hello and welcome to yet another public service announcement from the Helen Scarsdale Agency.

A few months have passed since we’ve published anything, and that was due to a consolidation of the fabrication departments of the Agency under one roof. The sound and design studios were separated from the printing and corrosion services by a sizable body of water and one very long bridge; but now all is housed in one complex — not entirely organized to our satisfaction, but good enough for us to begin soliciting sales for the latest publication — a mesmerizing album of field recording and hallowed minimalism from Patrick McGingley (aka Murmer). This is the second of McGingley’s albums that we have been blessed to release into the world, and it’s quite a gem. We won’t be issuing this for a few weeks — July 3, in fact; but we are now accepting pre-orders on the album for those so inclined. With just 400 in limited production, we hope you would be inclined.

And now, the details:

What Are The Roots That Clutch
Helen Scarsdale : HMS022 : CD
mail order price : $13.00
release date: July 3, 2012

What Are The Roots That Clutch is limited to 400 copies and comes housed with letterpress artwork.

It was a cavernous tone that broadcast from a ventilator duct that inspired Patrick McGinley to begin collecting field recordings and working them into his slow-arc compositions. At the time when he heard that particular tone in that particular city at that particular time, he had no gear to recording device on hand. Over the next fifteen years (and counting) McGinley has eased into a peripatetic lifestyle, wandering the European countryside and forests (but never straying too far from the thrum and spark of civilization) in search of the same epiphany with his head rattled to the sound of a cavernous air duct.

Around 1996, McGinley adopted the moniker Murmer for his compositional work; and though his work often steps into the quieter realm of sound construction, much of his field recordings and resultant compositions privilege interference and disturbances that occur within any given sound ecology. Those sounds could be the elusive tone from that ventilator, the polyrhythmic chorus of chirping frogs, the abstracted roar from an Arctic wind tearing across the Black Sea, or the metallic skree from a bowed antenna perched atop a Soviet-era observatory. What Are The Roots That Clutch marks McGinley’s first full album in nearly 5 years, but it marks an elegant continuation of his previous album We Share A Shadow. The five chapters of this album can’t easily be associated with any specific location; instead McGinley overlaps and crosshatches his field recordings and abstractions into acousmatic passages with ghostly, half-melodic qualities. Even the two unprocessed recordings of the album are impossibly complex in their accretions of sound. McGinley’s composed pieces embrace lithe, mysterious drones whose mossy, damp atmosphere perfectly situate with tactile crunches, tactile events, and signal noise generation. Eels and leaches would not be out of place in such an environment; but the subaquatic murk snaps into a hallowed manifestation of ritualized minimalism at the album’s finale/ — one that LaMonte Young and Angus Maclise might have conjured in 1968 with clattering percussive elements and a hypnotic blur of harmonic drone.

::: plats, kleyn & mcginley @ mooste folk festival :::

photo by sergei kleyn

on the 28th of april, 2012, marja-liisa plats (a local singer with whom i have worked several times in the past few years and with whom i have had a vague plan for the last year or so to start a musical project), sergei kleyn (a writer and musician who has been a resident artist at MoKS for the last few months) and i entered the annual mooste folk festival song competition and performance, at the request of the organisers for MoKS to enter a band representing the local mooste artists’ community.

many bands (14 this year, i believe) perform 2 songs each during the main event: one is a song of their choice, while the other is a single traditional song chosen by the festival organisers that each band must interpret. on the jury this year, among others, were musician peeter rebane, and legendary electronic composer sven grünberg, who would prove to be our champions as we won the 3rd place ‘surprise prize.’

many thanks to peeter and sven, and all those who enjoyed our music. here it is as recorded on the night by our friends, also then artists-in-residence at MoKS, dennis tan and katri ikävalko.

::: framework:seasonal ::: spring 2012 edition :::

and an announcement from the world of framework radio: staying in the realm of shiny discs, issue 2 of the framework:seasonal fundraising compilation series (spring 2012 edition) is now ready to ship! once again we present you a fine collection of new unreleased sounds, all field recording related, from artists both well known and relatively new to our airwaves. the new edition features works from:

jd zazie, sala, james wyness, dave phillips, aymeric de tapol, anton mobin, camilla hannan, pali meursault, lasse-marc riek

this edition finds itself in much more industrial territory, in the literal sense of the word, with machine drones, empty spaces, printing presses, public transport; quite a cacophany, but not without some natural respite away from city sounds.

framework:seasonal is an ongoing series of compilations in support of framework radio – all works are donated by the artists, and the releases are only available directly from the framework website, in exchange for a donation of 18€ or more, or a subscription donation of 5€ per month or more. please support framework’s efforts and give! copies of issue 1, autumn 2011, are also still available, as well as just one or two remaining copies of the massive framework250 4-disc set from 2009.


::: 2012.05.08 ::: tartu, ee :::

::: performance @ topofon :::

w/ the authors of mitte tartu

tuesday, 8 may
küütri 2

“Mitte-Tartu” on psühhogeograafilis-hallutsinatoorne proosakogumik.

Kogumiku esitlus leiab aset teisipäeval, 8. mail kell 19 Y-galeriis.

“Mitte-Tartu” lugeja tutvub selle osaga Tartust, millele ‒ olgu teadlikult või mitte ‒ tavaliselt tähelepanu ei pöörata. Hiinalinna garaaživohang, Variku autoviadukt, Emajõe põhi, linna ümbritsevad võsad ja luhad. Grafiti sildade all. 17. sajandi lapse luukere Meltsiveski tiigis. Küütri tänava metroopeatus.

“Mitte-Tartu” esitlusel Y-galeriis loevad katkendeid oma tekstidest raamatu autorid Anti Saar, Berk Vaher, Joanna Ellmann, Aare Pilv, Tanel Rander (ehk ChanelDior), Lauri Pilter, Meelis Friedenthal, Sven Vabar, Jaak Tomberg, Kaja Pae, andreas w ning võibolla ka Mehis Heinsaar ja Erkki Luuk. Maarja Pärtna on ka kohal, aga tema teksti loeb keegi teine. Kiwa kahjuks sõidab seeaeg ära Rootsi.

Autorite taustaks laseb keskkonnahelisid Mitte-Tartust murmer (Patrick McGinley).

Tanel Rander näitab esitlusel ka, kuidas meie siin Baltikumis mamaligat lõikame. Mamaliga on traditsiooniline idaeuroopa maisipuder. Nii et esitluse külastajad saavad ka kehakinnitust. Muideks on „Mitte-Tartu“ esitluse ajal Y-galeriis üleval Taneli näitus „Decolonize This“, mis tegeleb Eesti ja Tartu idaeuroopa identiteediga; mõned fotod ja videod näitusel on üles võetud mitte-Tartus.

„Mitte-Tartut“ illustreerivad Kaja Pae arvukad fotod kõigist neist Tartu mitte-kohtadest. Kogumiku koostas Sven Vabar ideeidu põhjal, mille Berk Vaher talle pähe pistis.

Kujundas Mari Ainso.
Toetasid Eesti ja Tartu kulka, kirjandusfestival Prima Vista, Eesti Kirjanduse Selts ja EKL Tartu osakond.


::: 2012.04.12 ::: tartu, estonia :::

::: opening of crosstalk: tartu-berlin soundbridge :::

w/ udo noll

opening of the permanent urban sound installation crosstalk: tartu-berlin soundbridge, a collaboration between udo noll and patrick mcginley commissioned by the goethe institute and domus dorpatensis for the 2012 edition of tartu’s saksa kevad festival.

::: crosstalk page at aporee ::: crosstalk soundmap ::: full program pdf :::

In former telephone networks, the term crosstalk (in German: Nebensprechen, Übersprechen, Einstreuung) described a form of audible disturbance during a a call, often fragments of other calls, network noise or voices. What was considered to be an error, from a technical point of view, was experienced as an almost poetic moment by others: a spatial short-circuit, an unexpected encounter, an intimate touch by sound or a spoken word, the unfolding dimensions of a telecommunication network, whose specific sounds are a topos of it’s own, synonymous with wide distances, and close personal relations.

The project Crosstalk refers to this notion of distant touch. It exchanges recorded sounds from distinct places in Berlin with locations in Tartu, from similar settings or situations. The dis- located sounds are bridging the distance between the two cities. The mobile listener in Tartu moves through the soundscape of Berlin, while browsing his or her local surroundings.

Here’s how it works:
Sounds from Berlin are pinpointed on a virtual map of Tartu. While you walk around town, your phone is permanently tracked by its built-in GPS (or global positioning system). The moment-by-moment positioning interacts with the Radio Aporee Miniatures for Mobiles App. Depending on where you are, the nearest sound from the virtual Tartu map will begin to play. As you move closer to a different sound, it crossfades with the previous one, and so on. If you leave a sound, it remembers where you’ve left off, and will continue from that point if you return. The crosstalk miniature has no prefered direction, just go where you like and use the map for navigation.
Beware: as you may know already, computers sometimes crash and phones sometimes loose their connections. so, if things hang or produce strange results, try restarting the app and start again.
Enjoy your walk!

::: 2012.05.01 ::: tallinn, ee :::

::: performance @ ptarmigan not-a-festival :::

w/ alexei borisov & toorete helide süntesaatorisalong

tuesday, 1 may
kodu baar
vaimu 1