Stefan Fraunberger is a composer-performer-artist transforming things 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 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 sonic embodiment and the shaping of fluid sculptures. His compositions and performances work their way through “nature's very own modular patch” using otherworldly dialects to result in possible tongues of pre-modern-futures. Based in Vienna, Fraunberger has lived and worked in Aleppo, Sana'a, London, Tehran, Sibiu, Benares, Brussels and Istanbul. His work 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 sound installations and translates/interprets non-idiomatic sufi poetry in theory and practice 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 electric santur (dulcimer), field recordings and interval crisis. Fraunberger is currently working on the upcoming release Quellgeister #3 for deserted church-organs and the „deranged orchestra“ for 8 temple conch shells reflecting vortex, the unthinkable, turmoil and the question about shells dreams. He is a 2017 shape platform artist, did the soundtrack for southafrican movie-production „Woodwind“, performed solo and composed comissioned pieces at CTM Festival, Berghain; Berlin / Donaufestival, Krems / Outernational Days, Bucharest / Tadaex Festival / Radical Tehran, Teheran / Musikprotokoll, Steirischer Herbst, Graz / The Fordge, London / UH-Fest, Budapest / Les Brigittines, Bruxelles...

„between melodies and noise washes, that never stop being engaging and provocative" (Quietus)

„aural narratives don't come more stunning / there’s an uncanny beauty both to Fraunberger’s seemingly absurd actions & to the, frankly, amazing results" (4against5)

„megalithic sonic sculptures... fraunberger's approach to transition is ceaslessly inventive“ (Auralaggravation)

„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)

Links to interviews:

The Attic, August 2017

Shape, January 2017

Woodwind , January 2017

Mica (german), April 2016

Amusio (german), June 2016