Stefan Fraunberger is a performer-composer-artist working on transformation since 1980. His music engages in electro/acoustic dialogue with uncanny states and instruments such as dulcimers or decaying baroque church organs, reshaping the liminal conditions of culture and perception while "touching the void." (The Wire)
Fraunberger has performed at festivals throughout the world and released on various labels. He is focusing on the recontextualisation of musical languages and the shaping of fluid sculptures. His compositions and performances work their way through “inhuman vocalisations of nature's very own modular patch” using otherworldly dialects to result in a "sonic archeology" of possible tongues and embodied information.
Based in Vienna, Fraunberger has lived and worked in Aleppo, Sana'a, London, Tehran, Sibiu, Benares, Brussels and Istanbul. His music is deeply informed by the study of different languages, traditions and understandings of modernity. Working in the fields of performative sound art, vocal and instrumental composition he also does installations and is creating sound tracks for movies and contemporary dance.
Fraunberger’s latest project, “barzakh”, takes its name from the word used to describe gray zones and liminal states, meaning “anything but yes and no.” The piece uses an amplified electromagnetic santur (dulcimer), field recordings and interval crisis. Fraunberger is currently working on the upcoming release Quellgeister #3, dealing with deranged and deserted churchorgans and other projects “concerning vortex and the unthinkable.” He is a 2017 shape platform artist and has performed at CTM Festival (Berghain), Berlin / Donaufestival, Krems / Tadaex Festival, Teheran / Les Brigittines, Bruxelles / Festival Imago Dei, Krems / Moa, Brno / Wien Modern / The Fordge , London / Hotel Amazonas, Ritten among others. Having contributed the soundtrack for south african movie production "Woodwind" he also published texts and translations on sufi poet ibn al-arabi's sonic ambiguity.
"between melodies and noise washes, that never stop being engaging and provocative" (the quietus), „aural narratives don't come more stunning / there’s an uncanny beauty both to fraunberger’s seemingly absurd actions and to the, frankly, amazing results" (4against5), „megalithic sonic sculptures / fraunberger's approach to transition is ceaslessly inventive“ (auralaggr.), „highly dissonant madness bordering the realms of lurking entities populating an intersecting parallel universe“ (nitestylez), „eschewing the pomp of sacred music for the fragile drone of an organic death knell“ (the wire)