Deflating History via Abandoned Pipe-Organs in Transylvania Stefan Fraunberger inside the church in Bussd, Transylvania; Photo: Johanna Guggenberger

Deflating History via Abandoned Pipe-Organs in Transylvania

April 29, 202031-39 minutes read

Written by:

Stefan Fraunberger

Edited by:

Andrei Rusu

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Language of Things

In the present situation of the globe being locked down by alien forces one can only reflect on gained experiences. My observations are related to compositions changing beyond the forest, coincidences, and laughing disbalances. A composition is not just a cultural phenomena created by humans, it can appear elsewhere too, as for example inside Materiality.

But let’s not get lost in yesterday's bias of Nature and Culture to have an insight into a future of alternate realities, beings and sounds that exist parallel with our own. History is taking place, especially in the case of Things, Humans and Organs in the ancient lands “beyond the forest” (middle age Latin: “Extrem Silvam” - “Ultrasylvania”). Transylvania is a region with the compositional feature of being the centre of the Carpathian mountains forming a high plateau surrounded by flat scapes on almost all sides, reflecting Eurasia in any direction.

"Quellgeister" (roughly translated into English as ‘source-spirits’) is a long term research project into the unique character of derelict pipe-organs in Transylvania’s abandoned fortress churches, left obsolete by the exodus to Modernity that followed the fall of Communism in Romania. In the long-term, my aim is to investigate the various transformations that human-built ritual machines undergo once left devoid of human presence, as they are slowly getting occupied by the Language of Things, thereby changing their interior material composition. We are in the midst of the testing-phase.

These organs are surrounded by a vast history spanning from local Shepard dynasties to Hungarian counts, from being an Ottoman Sultan’s protectorat to become the eastern periphery of the Austro-Hungarian monarchy, and to finally become a province of the current Romanian nation state. Hardly anywhere in Europe there is such a complex mixture of different minorities and ethnic groups coming from all over Eurasia, living next to each other for centuries relatively peacefully. This created a high compositional density of cultivation in the process of interacting with the given material preconditions. In certain parts of the region we find the rare ability of humans creating microclimates without macro-engineering, especially in places where traditional Methods were not replaced by Modernity. Thus being a phenomena we meet in many places of the world.

As we consider new possible methods for a future, we might find some tools and tricks in-between these hills beyond the forest: it’s not just the different ethnicities inhabiting the Transylvanian high plateau claiming the land being theirs.
I started feeling at home in the heart of the radical periphery, to be confronted with a situation astray the modern bias of progress and what's left behind.

The “Quellgeister"

Agencies on the way to Bussd; photo: Johanna Guggenberger
Agencies on the way to Bussd; photo: Johanna Guggenberger
As we observe a global dome inflating coordinates in space and time, we might consider deflating some hot air into the horns and pipes of possibility. The situation seems to demand asking questions to our pre-grandparents about the eternal transformation of Materiality. The “Quellgeister", being named so by a cobbler in the early days of Baroque, at times when modern day Mars-Order was being established, is but a humble attempt to explore our relation to the Language of Things, future and chaos. After years of close examination we can start concluding: when things are being left alone, the organ of mutations starts emanating asymmetric shock-waves from within and the Sleep of Gravity creates a Behemoth.

After the Iron Curtain was history, an Exodus, a mass movement towards the West took place in big parts of Eastern Europe. Some years later I came to Transylvania for social work as an alternative to mandatory military service in Austria. This happened at a time I was still in full swing with easy party life on Mars. Suddenly I found myself in a place with horse carts, pigs and an interior order we might imagine as Baroque-times countryside life.

Out of poverty people left the cities to be able to grow their own food. There was enough deserted property to do so, free for whomever wishing to take it, as it was left years before for the big march to Mars. It was like the first contact with alien forms of life for me. People being dependent on rainfall and horses, pigs receiving tasty and home cooked dinner to finally serve as ham for their masters in cold winter days. All of this bewildered me - I wanted to run back towards what I just left: the Westend of Mars, where all the joy and pleasure was going on in Hypes, Malls and disinfected slaughterhouses without me. After waking up to things I slowly started being part of this scenery with all its rough beauty and unconditioned problems. I started feeling at home in the heart of the radical periphery, to be confronted with a situation astray the modern bias of progress and what's left behind.

At times when the uncanny is disbalancing the symmetry of our screens it's not just myself being stuck in the capital of mirrors. Since recently my way to the field-laboratory is locked by statistics, so it's impossible to go on observing. What to do? During times of curfew writing about results and perspectives seems fruitful for a further understanding of things.
Reverse Cosmology, Strambu - Northern Romania; photo: Stefan_Fraunberger
Reverse Cosmology, Strambu - Northern Romania; photo: Stefan_Fraunberger

In Dust We Trust

Dust seems to be the final material manifestation of symmetric feedbacks, a process we can simplify with: things interacting with other things. As I am not intending to write another history of Sound on Mars, it is "On The Air" to speak about how much IN DUST WE TRUST. Instead of wishing for old or new normalities, keeping insecure dust out of the house, we might as well make a trip towards what's most alien to us: the things we are constantly observing from outer space. Normality is a balanced feedback of spheres on maps, a healthy way of becoming dust. But let's not discuss romantic machines inside the Dome of Reason, let’s rather stick to a saying of 14th century Sufi Nakhshabi: "The duty of freeing the house of garbage is done with a broom - not with a stick, and the annoying obligation of bringing the garbage out of the house is done with a bucket - not with a sword."

"Feedback inhibition" is a term in biology that describes an asymmetry avoiding things to reach a final state, it creates transformation through asymmetry and thereby describes the irrational way, the surface of the earth is constantly staying alive: in disbalance. There seems to be something on the wire…

What could that mean for our investigations into “Quellgeister”? While Organs are being left alone by human actors, something takes place. It seems a Scandal takes place within. As we are serious in examining things, first of all this has to be tested. If we test it in Vacuum it won't mean anything, because nothing will be heard at all. An experiment about the possibility of transformation should be carried out within the Laboratory of Things, to test the possibilities of moving air on and around disbalance. After the Vacuum Pump in Disinfected Studios was finally emptied, now comes the dirty Air-Pump - the Organ’s bellow’s coming back to chaotic life. Seemingly the hype for yesterday's futurism is past so now we can look straight into the face of what's scariest: the horror of ongoing history deflating storms of hot air into yesterday's leaking lofts on Mars. We can hear the trumpets calling a frog inflating a bull. The new here is the old after, so let's closely observe what I chose to call HEARAFTER.

But what if suddenly the organ of wishful symmetry can not be returned to yesterday’s sovereignty, what if the loop of the Holy Market turns out to be fictional? Did Materiality jump out of sequence? Do we feel the need to force frequency back into the nuclear reactor of moderated loopabilaty?

Keys gone
Changed and silenced Organ in the Fortified Church of Waldhütten (Valchid); photo: Stefan Fraunberger

Existential Modulation

Since modern national order started stretching out to balance life in statistical coordinates around the year 1610, the notion of progress self-situated the wealthy West in a post-apocalyptic kingdom of speed, a center of the gods of evidence and market, which was being built on thievery and ruthless exploitation. But what if suddenly the organ of wishful symmetry can not be returned to yesterday’s sovereignty, what if the loop of the Holy Market turns out to be fictional? Did Materiality jump out of sequence? Do we feel the need to force frequency back into the nuclear reactor of moderated loopabilaty? Sound can be a beast far beyond control - especially if viewed from within, it can run out of external control.

So is the Big Plan still a Dome of Symmetric Reason looking with nostalgic eyes towards the early days of controlled progress and total defibrillation? Are we still hoping to engineer a balanced Nature-Feedback so IN DUST WE TRUST? We might have forgotten about the depth of listening during this recent period in high-speed-vacuum, where sound can not be perceived, just inflated. As far as I remember listening enables us to take an interior perspective through exterior things being in movement, which seems to have the erotic qualities of direct communication, no need of having to understand the one and only meaning.

Our ears are transforming external information, they have the ability of creating existential modulation. Based on this ambiguity of meaning and hearing certain questions become evident: can the Language of Things create a relation to the unknown alien of interiority and where is the use of the machine, where is the use of the Organ, if everybody knows how it functions but nobody knows what it is for? The trick I’m attempting to find is how to let the Language of Things escape natural laws inside the dome of reason or, as John Carpenter would say, how to "Escape from New York?"


Bussd Organ mechanics; photo: Stefan Fraunberger
Bussd Organ mechanics; photo: Stefan Fraunberger

Forced Domestication

"Eu sunt mic, nu ştiu nimic. Tata-n pod beleşte oaia."

The above Romanian saying from the late Communist-era serves as an appropriate starter for the foundations of hearing. It translates roughly as: "I am small, I know nothing. Father is getting in trouble with (slaughtering) sheep on the bridge (in the Attic).”

At times when the Big Plan of Communist authorities abducted the last belongings from people to then give them to the secretaries of the Plan, and at times when the same self declared Plan authorities removed all the civil liberties, people, as always in totalitarian systems, became very open to not knowing anything except the fact that there is something uncanny going on.

Since the modern nation states locked the fence and shut down the Dome of Reason, this movement, this agency of humans interacting with the Earth came to a sudden stop.


What if all the things and creatures of the non-human world we don't really understand, come telling us from their objectified cages: "I am small, I know nothing, the earth is slaughtering Problems in the Attic."

Considering the possibility of alternate realities, let us remain on the High Plateau beyond the forest, within the Anthropos, the realm of humans interacting with the world. Around the centre of Transylvania I found the most recent “Quellgeister” laboratory in the shape of a derelict church ship, to test the Organ of Change going offshore. The Instrument itself has been fermenting in the village of Bussd, situated in a peripheral region of alternate realms. Steep hills being populated by shepherds and their truly protective dogs since thousands of years, while the different villages downhill are traditionally inhabited by Armenians, Roma, Hungarians, Germans, Romanians and other ethnic groups of whose ancestors history is uncertain. (“Europe and the people without history” - Eric R. Wolf) Throughout history, nomadic peoples have usually ended up enslaved and made field labourers by the more established groups. In fact, not so much has changed about this situation, only the names modern civilisation gave them took on different clothings: “gypsies”, “thieves”, “outlaws”, “illiterates”. Since the modern nation states locked the fence and shut down the Dome of Reason, this movement, this agency of humans interacting with the Earth came to a sudden stop. We could call this as a forced domestication.
16th century wall painting in a wooden Orthodox church, Rogoz - Romania
16th century wall painting in a wooden Orthodox church, Rogoz - Romania

An Inflating Frog

Whenever humanity is not aware of the unintended consequences of their doing Good, they create a "Civilisational Apocalypse”: civilisation is always an apocalypse for those being missionised. Since recently a question is becoming evident: Are we still obeying the executive organ body of yesterday's state or couldn’t the state be an Organ of Change, a 21st century apparatus protecting its inhabitants from an inflating frog. The role of this Apparatus is to save its people from the almost exploding Holy Loop of the Market by deflating hot air into pipes and horns so we can hear the Trumpets Call.

After almost having created a Well-Tempered-Mars-Atmosphere through Balanced and Globalised Loops, we still know nothing and father Alien around the corner once again starts "getting in trouble with sheep in the Attic". While the order of the Organ and the acoustics of the church start trembling and shaking from within, while the Holy Loop of space and time is deflating air, the things of the earth all around us keep whispering: "We are small and we know nothing,... " As Stephen Toulmin tells us in Cosmopolis, since around the year 1610 we started believing in objective methods of Radical Modernisation to exorcise the ghosts out of rituals and things, to finally reduce them to a determined meaning. When earth's surface is now starting to take back stolen property, it's almost as if "Territory would become Terror", as Bruno Latour wrote in Facing Gaia.

Invisible actors were "tickled" until the point they decided to ridicule back... an army of things is laughing and standing right in front of us. In earlier days vampires were unseen but known aliens, same as nowadays germs and microbes are not seen with the external senses, but felt when they attach and we know about them being aliens. Since we only acknowledge evidence from an outside position, since we observe the blue planet from as far away as Sirius, we might have lost a lot of details about our immediate neighbourhood on the way. But some of us started listening to, searching and observing the uncanny ways of Materiality since recently by recollecting the Language of Things. Some started to leave their studios and laboratories to bear witness to a situation called: YES / NO

However things turned out meanwhile on Mars, during the last years of Communism they have been quite rough for the humans outside of the Secretary-party in Ceaușeșescu’s high castle. Anybody who could have left, had run towards Modern Talking. People left their villages, churches and organs and ran towards supposed freedom to the Centres of Progress, not to stay behind within the feared territory and its past full of terror, traditions, history and relations. Most of the German minorities in Transylvania (having lived there for more than 500 years) followed the call of Diaspora to the Nation-God, left their things and traditions behind and meanwhile, as director Terrence Malick would say A Hidden Life developed.

Does healthiness mean being constantly renovated and repaired to the standard (of which machine?) and does unhealthiness and illness mean a deterioration of the normal? We tend to be not so sure about this. Especially about music we enjoy "healthy" and natural/cultural tuning systems bringing us to a state of supernatural and disinfected bliss while we are afraid of the dirt and the mud breathing, creating physical sounds through physical action.

The escape to a balanced Mars atmosphere makes us forget the ongoing life-sound on Earth. But as Bruno Latour would say, "anything that was composed can also be composted."

Quellgeister #1



Having lived in an empty priest-house next to nowhere, I started taking the key for the church next door to get the organ moving at nighttimes. At that point I knew of Jazz, Electronic Music, and greyish standardised Euro-Traditions, but suddenly I encountered the Other Side of the Horn. It felt invigorating to be part of the chaos of things. Wanderlust hit me from top to bottom… After not having found my peace with the safe space of machine-life on Mars while I was in Vienna, I at least found some sense by studying electroacoustic music, Arabic and Western philosophy. Having spent airy gaps in my CV up the Himalayas and someday downhill in the thick air of New Delhi's outskirts I was falling asleep at a small dharga (sufi-shrine) - whose name i unfortunately forgot - during this heat break in the midst of Extreme-Chaos my attention turned back to the Language of Things.

"Quellgeister" (source-spirits) found it’s first serious attempt in april 2009, when I started performing and recording those half church-organ / half beast things. This took place in the Transylvanian village of Christian, a place that once was built and inhabited by an old Austrian minority called Landler, who had to migrate out of religious reasons during the Austro-Hungarian counter-reformation in the 17th century. A full moon recording at the organ, being performed sometimes between Gregorian and Orthodox Easter took place in solitude. A single take out of these uncounted sessions at the organ became to be released as Quellgeister #1.

Now, 10 years later, after having started to understand the situation of organs deteriorating at the periphery I am fully motivated to further get in touch with the Language of Things, "coming as you are". Meanwhile having toured, gave concert performance all around Mars, after having started to project sonic disbalance from different Organs of Change towards the centres of liminal progress, suddenly a bat, a viral-vampire stopped the civilisational apocalypse turning in equal and well tempered cycles…
Keys gone
Bussd Church Interior; photo: Johanna Guggenberger

Getting access to Church Abrud; photo: Stefan Fraunberger
Getting access to Church Abrud; photo: Stefan Fraunberger

Walks through the Territory of Things

Yesterday's vampires were drinking the blood of non-vampires, so let us now deflate gravity and statistical coordinates in time and space to get right into the Black Hole of the Horn of Imagination. Don't get me wrong, it seems we need to reverse what Paracelsus, the euro-father of modern medicine wrote in despair in the 15th century: "It is fulfilled, imagination was degraded to fantasy.” All inner perception was banned to fiction and fairy tales, while the outside perspective from space became the truth. That's the Tragedy of Modernity. Remember, we are all sitting in front of screens on Mars staring at a far away planet about which we have hallucinations of homesickness. We might come to the idea of an "Escape from New York".

We humans feel it is our prerogative to interrogate inanimate objects on Mars to keep them under close observation; and so we overlook that we ourselves have long been under surveillance by watchful eyes and attentive ears; almost as if our own familiar Earth had become that mind-altering planet painted by Stanislav Lem in Solaris. And who among us can safely say they have never experienced one of those moments when seemingly inanimate objects suddenly come to life. As when a pattern in the carpet reveals itself to be a dog’s tail – a tail, moreover, inadvertently stepped on... In such moments the interior quality of the “Quellgeist” becomes audible.

On my walks through the Territory of Things I came along different villages and deteriorating church-organs throughout Ardeal (Romanian name for Transylvania). With no need of restoration in mind until now I have encountered dozens of instruments "On The Air", some of which have left their bellows and lungs silent forever. As you may imagine it's not always easy to find the person having the key for the church "out of mass-use". As luck would have it, meanwhile I learnt Romanian, which didn't spare me having to get drunk with different parties of the village to finally get access to HEARAFTER. Sometimes there was no real time to explore and record as villagers were simply bewildered by the pointless possibility of somebody coming from the holy mountain of Modern Talking being interested in these old and rotten pipes in dusty places without electricity. Sometimes I found no way to make this barrier fall and let people understand my mission taking place in their favour. Whereas others kept reappearing with beer and țuica (traditional Romanian distilled beverage) to the church to share some relaxing time with me. Another time the lonely priest next to the church started telling me his life story instead of me working at the organ.

The best companions for recording in hacked churches naturally were local kids, as they found a way to the organs before I did and so they could teach me about them. Once I was about to record the silence in the church of Bussd while a boy, named Nicolai Guta, giving me a helping hand, asked slightly scared: "Domnule ce înregistrați aici - lilieci?" (Mister, what are you recording here - bats?)
Bussd Organ Manual - K_Einschenk; photo: Stefan_Fraunberger
Bussd Organ Manual - K_Einschenk; photo: Stefan_Fraunberger

Quellgeister #2 and #3

For Quellgeister #2, I investigated the church organ in a Transylvanian village with the German name of Wurmloch, which translates Wormhole. The organ had been modernised and equipped with an electric motor-driven bellows that would supposedly assure a constant and balanced airflow (as any modernised Church-Organ would apply the same motor-propelled airflow). Wind and temperament of the instrument were in a condition of a wrecked space-ship staying in unsafe distance to a Wormhole. The uncut recordings I chose from these sessions became a journey around the leaking black hole of Quellgeister #2.

No such electric bellows has ever been installed in Bussd – to use, here too, the German name for the place where the event horizon of the present ends. The Organum of Bussd – our protagonist in Quellgeister #3 – has barely been altered or modernised since its redesign by the organ builder K. Einschenk in the early 19th century. Which is why the Bussd bellows is still pumped full of air by human hand while its “inner life” – the wooden mechanism that opens and closes the stops and pallet (valves) — is a filigree arrangement of wooden rods. In the Evangelical Register of Organs in Siebenbürgen (to use the German name for Transylvania), the instrument is described as follows:

Action: Registertraktur: mechanical; 
Spieltraktur: mechanical;
classicist in design with painted columns: redgold-greenish;
tin pipes, some front pipes are missing


It is said to be overall in an “unplayable/ rundown“ condition. From the classic viewpoint, this may well hold true, but in my view, this is precisely where the Quellgeisters’ work begins. After #2 had a closer ear on the outer appearance of a wormhole - #3 went for the boost which led straight down to earth where all kinds of alien to Mars-Order things are happening inside a hand pumped machine lung with a multitude of rotten flutes attached, left alone by those who built it… or to say it with the words of Jakob Böhme, citing his book “Aurora”:

"The sixth Quellgeist in the divine power is the sound, tone, tune or noise, wherein all soundeth and tuneth whence ensued speech, language, and the distinction of everything ... Thou shall ask, What is the tone or sound? Or how taketh this spirit its source and original? All the seven Quellgeister are generated one in another, the one continually generateth the other, not one of them is the first, nor is any one of them the last; for the last generateth as well the first as the second, third, fourth, and so on to the last ... Hardness is the Quellgeist of the tone ... And now when the spirits do move and would speak, the hard quality must open itself; for the bitter spirit with its flash breaketh it open, and then there the tone goeth forth, and is impregnated with all the seven Quellgeister." (Jakob Böhme - “Aurora”, 17th century)

The time of "the language of things" being ridiculed "science fiction" seems over. The "war on terror" became a "war on change". We seem to want to go back to the normality of an eternal robot-life on Mars, statistics put into defibrillated coordinates on maps claiming fundamental certainty. Obviously we are in a crisis of Mars-Order fantasy, total symmetry progressing difference and disbalance to Dust. But remember: when the state of dreaming is on, HEARAFTER is not even a "Metre des Archives" (Standard Meter or Urmeter) away from things "composing and composting".


Yesterday's futurism declared that the influence of non-human agencies on all of us is fiction. Nowadays it seems to be the opposite: fiction is yesterday's belief in inanimate matter, that can be enslaved and exploited in any way wished - without payment, without taxation.

Oneness of Being

Yesterday's futurism declared that the influence of non-human agencies on all of us is fiction. Nowadays it seems to be the opposite: fiction is yesterday's belief in inanimate matter, that can be enslaved and exploited in any way wished - without payment, without taxation. It might be time to say: hand back Materiality and the possibilities of interior change, so we can say hello to our constant neighbours laughing at us. Finally down here on folded, or as some would say Flat Earth, there is a multitude of dimensions and agencies interacting, sounding and relating while up in Heliocentric Vacuum there is nothing but externalised coordinates of static movements in equal temperament - Galilei carrying the "metre des archives" in eternal cycles around symmetric Mars Atmosphere. Is the Boredom of Gravity probably one of the new gods to be dethroned? Maybe it is time for the The Plain of Assembly to congregate.

Are we collectively doomed to sing along the collective noise lullaby of cars and machines on Mars? Aren't we able as a collective to create a multidimensional chant, a Modulation of Existence? Aren't we able to create a "Language of Birds"? - being the title of a 12th century work written by a Nishapur Sufi in nowadays Iran. His name was Fariduddin Attar and, having been killed by intruding Mongol armies, it is said he was laughing out loud at the moment of his execution.

We might now ask: who says it is a romantic illusion to say that birds would bring us straight back to the Hell of Archaic and Irrational Times? Who said it is our duty to reign over Materia and thereby engineer a cosy and secure Mars Surface? Who said that's the only way of making a Robot staying alive - no Alternative? Unfortunately Barbarians of Radical Progress tend to say so. No matter under which religion they are hiding - fundamentalists always hate the Language of Things, they hate the Oneness of Difference. We have a truly unbalanced universe right where we are, which is not Paradise neither is it Hell, but it might be more uncanny then any wishfull thinking of Radical-Hype-Engineering could ever be manifested on Mars. What comes to mind is a confession from the Oneness of Being: (please shortly bypass yesterday's conflict of no god(s) except and god(s)):

“All of this [reality] – praise be to God – is in actual fact imagination, since it never has any fixity in a single state. But people are asleep, and the sleeper may recognize everything he sees and the presence in which he sees it, and when they die, they awake from this dream within a dream. They will never cease being sleepers, so they will never cease being dreamers. Hence they will never cease undergoing constant changes within themselves. Nor will that which they see with their eyes ever cease its constant changing. The situation has always been such, and it will be such in this life and the hereafter.” - Ibn Arabī, al-Futuhat al-Makkiyah (The Meccan Illuminations), 12th century.


At times, when Gravity goes to sleep it starts dreaming of sheep and barking dogs.
Bussd Church; photo: Stefan_Fraunberger
Bussd Church; photo: Stefan_Fraunberger

A Hidden Counterpoint

The main principle of composing a piece for different interpreters came to be the techniques of counterpoint and polyphony, developed some hundred years ago. Finally it meant the interaction of different melodic and rhythmic actors. A truly great thing to have is an interacting difference of beings with similar rights.

In fact it's not far from what's anyhow happening all around: The Ongoing Chaos Of The Language Of Things Creating A Possible Future. We are just ignoring the fact that there is a Counterpoint hidden in everything that's happening right inside Materiality itself. Coming back to music we might ask: what does this mean in terms of sound? What does it mean if a constructed system, the global Church-Organ Order is being changed by a multitude of actors as temperature, animals, insects, vampires... from within? How does it sound if the Counterpoint of Things takes place within, when aliens start laughing and interacting with the invisible movement of wind? How does it sound when the Plain of Assembly congregates on deck of Modulation? When different actors from beneath the surface, when insects and birds congregate on deck of the ship to deflate hot air into the Horns of Possibility - we might even proceed.

At times, when Gravity goes to sleep it starts dreaming of sheep and barking dogs. At a certain point I felt it necessary to leave Mars once again to get in touch with aliens changing the temperament and atmosphere of an organ lung starting to breathe again. For me, performing and thereby observing the winds of deteriorating organs in solitude meant, and still means, finding out about the new auditory possibilities of things "coming as you are", it's like coming back to normality, coming back to a possible future full of chaos and history. Somehow it means confronting what we constantly try to avoid...

Sound in Sight

After the Dome of Progress and Reason got lifted by alien actors, we might have to congregate at the Earth of Assembly to start understanding the Language of Things. Concerning my own investigations, there is still enough work to be done to start understanding Alien Sounds of Interior Mutations going off shore. Let’s keep this Assembly open for further investigations, or to say it with the words of the children Alina and Nicolai, while helping me to get wind into the sails: at a certain point it felt as if the church-organ would fall apart because an interior storm showed up with a sound resembling the Humming of the Bees.

By holding with my hands tight to the keys, not to be blown off the organs stool, the Language of Things kept whispering in tongues. While Horns and Trumpets were falling apart and the Organs pumping mechanism was breathing and crunching, while things were congregating on deck, we kept assisting the ship moving forward. The days after the storm had calmed down, we were caged without water and food in the midst of the ocean but one morning the boy started screaming from the Top: “Sound in Sight!”.


Quellgeister#3 Bussd by Stefan Fraunberger was released in October 2019 via Morphine Records and recorded entirely on an abandoned church's organ in the village of Bussd, Romania.

About the Author

Stefan Fraunberger

Stefan Fraunberger is an Austrian composer and artist exploring themes of transformation and liminality in sound, focusing on their interior counterpoint in relation to perception and engaging in electro-acoustic dialogue with different instruments, beings and agencies beyond nature and culture.

He has a background in electro-acoustic music, Oriental studies, Arabic language, and Western philosophy. Having lived and worked in Aleppo, Sana'a, Tehran, Sibiu, Benares, Brussels and elsewhere, he is now based in Vienna.

@SFraunberger homepage
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