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Murmer: Framework 1-4 [2 CDs] (Herbal International)

Patrick McGinley (Murmer) in a series of bold experiments with untreated field recordings, exploring notions of musicality within the structures of found sound, written partially as a reaction against the idea of documentary or objective presentation of found sound.
 

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Label: Herbal International
Catalog ID: 1202-2
Squidco Product Code: 20807

Format: 2 CDs
Condition: New
Released: 2012
Country: USA
Packaging: Cardboard Gatefold 3 Panels
All sounds found between 2003 and 2011.


Personnel:

Patrick McGinley-composer, performer

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track listing:


CD1



1. Framework 1 [Paris Cuts] 14:23

2. Interlude [Tengmalm's Owl] 3:45

3. Framework 2 [Se Soir On Va Se Faire Chier] 33:00

4. Epilogue [Seaside Flagpoles] 4:08

CD 2



1. Framework 3 [Swarm] 33:37

2. Interlude [Thunder and Cranes] 3:10

3. Framework 4 [4 Spaces] 15:10

4. Epilogue [Irrigation Drain] 4:10




Related Categories of Interest:


Electro-Acoustic
Organized Sound and Sample Based Music
Field Recordings
Unusual Vocal Forms
New in Experimental & Electronic Music
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descriptions, reviews, &c.

"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 and 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."-Herbal International


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