Stefan Fraunberger is a composer and sound performer with a special interest in transformation. His music engages in electro/acoustic dialogue with unconventional instruments such as dulcimers or decaying baroque church organs, reshaping the liminal conditions of culture and perception while inhabiting sonic ambiguities and "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 conventional musical architecture and the shaping of fluid sonic sculptures. His compositions and performances work their way through “nature's very own modular patch” using otherworldly, bewildering vocabulary.
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. He became interested in tongues and dialectic musical concepts while serving mandatory national service in Romania and, after learning Romanian, went on to learn Arabic and Persian. Working in the fields of performative sound art, vocal and instrumental composition, he also translates and interprets pre-modern arabic texts as well as 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 and on other projects “concerning derangement, vortex and the unthinkable.” He is a 2017 shape platform artist.
"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)