Dynamiska drones, suggestiva ljudlandskap och vildsinta elektroakustiska improvisationer! KLUSTERLAB är en löst sammansatt improvisationsgrupp som vuxit fram ur föreningen Klusters återkommande jam, och som på ett lekfullt och inbjudande sätt vill föra fram improvisationsmusiken i och utanför Norrbotten! Kom och lyssna – och spela med själv!

KLUSTER är en förening för nutida konstmusik, för närvarande den enda i sitt slag i Norrbotten. Förutom konserter och festivaler arrangerar Kluster regelbundet workshops och musikaliska möten för att skapa ett nätverk för innovativ och experimentell musik i norra Sverige. På denna sida hittar du några inspelningar från dessa möten. Läs mer om Kluster här:
http://www.kluster.nu
Fler inspelningar från KlusterLab:
http://www.soundcloud.com/klusterlab_norrbotten
https://soundcloud.com/klusterlab
https://soundcloud.com/klusterworkshop

Ur KlusterLab har också improvisationsorkestern NIO (Norrbotten Improvisers´Orchestra) uppstått. Mer om den här:

http://www.soundcloud.com/norrbottenimprovisersorchestra
http://www.soundcloud.com/nio-19

sound & visual artist, composer, improviser Co-founder  Musica Genera Festival and label
BOOMKAT REV
 'Heavily contrasting sides of improvised, fractal, avant industrial rhythms and complex tonal noise from the cream of the Polish experimental music NoetingerPiotrowiczZaradny. Vinyl master&cut by Rashad Becker. 
CRACKFINDER the album comprises of two distinct parts. The first is extremely intense and eventful, creating a strong tension, giving the sense of an immense effort or even wrestling between the musicians; a clash of ideas and values
The second part evokes a kind of a soothing stabilization. One may think that the interlocutors have reached a consensus
The artwork on the cover is a frame from the video art piece ENJOY THE SILENCE by Zaradny: symbolic flares and cracking of matter in complete silence. The intensity of the image, however, creates a strong suggestion of sound.   
Cracks – both material and metaphorical – do not have to be the negative effect of an abrupt event. They can be the beginning of change, an opening for the new, an impulse for action, the search for the 'portals of change’

'Experimental Polish composer practices bewitching electronic rituals in GO GO THEURGY; following two memorable feat with Fennesz & Stangl 
We were struck by Anna’s taste for dissonance and an intense, pulsating sort of feminine pressure, and find those elements in majestic effect.
Abstract in its stoic, precisely sculpted and beat-less arrangement, yet organically evolving in its layered harmonic chaos, GGT divines a free-floating space at once powerfully driven by rhythm, yet due to the absence of any tangible percussion defines a lush, keening, and pensile tension whose effect is only heightened when she abruptly veers off into passages of pizzicato pointillism. 
It could be considered dance music in a most extreme, physical form with proper amplification both sides have the potential to exert serious G-force torque, liberating the body from the mind, and vice versa - but the underlying structures which also lend themselves to comparison with classical music, especially in the staggering, Wagnerian turn of phrase that cleaves side two, before it calves into an almost asphyxiating, head-curdling final passage. Really impressive stuff.  

'The brilliant A Zaradny's follows up her engrossing debut with RE:EM new EP featuring a sumptuous Fennesz rework of her 'New feat Old', following hot on the heels of Robert Piotrwicz's crushing side, 'Stara Szkoła Ze Złota' to remind us the ascetic, uncompromising brilliance of Polish experimental music at its best.
On the front Zaradny utterly dominates the senses with a pulsating deconstruction of 'Stop The Chaos'; originally a sub-3 minute rager, now distilled and expanded to three times the length in a cyclical swarm of metallic drone timbre and ear-curdling howls emulating effect of a massive nitrous oxide asphyxiation in the middle of a grindcore show (well it does to us at least).
The B-side presents another facet of Anna's work with the eviscerated, bubbling tones of 'New feat Old' giving way to what sounds like Powell dragged backwards at 33rpm, before Fennesz concludes with a blissfully noisy reassembly of the latter rent in coruscating harmonics that work right on the biting point. 

'An absolute find. Most impressive is Zaradny's A-side, 'Octøpus'. Ostensibly static yet deftly, subtly rhythmic, it makes for a memorable first introduction; lulling us with hypnotic microtonal bass drones which grow stereo fluctuating pulses and (what might be) fragments of chiming vocals conducted with the precise, haptic electronic sensitivity of Holly Herndon and the patient development of an Eleh or Eliane Radigue recording...
By contrast Stangl's B-side 'Crédit' is organic, grounded, rendering shimmering guitar strokes into crushed glass textures and hovering harmonic overtones and grainy waves of bass over one extended piece. A real treat from this already promising label, highly recommended.

“The cure for boredom is curiosity. There is no cure for curiosity.” – Dorothy Parker

"My art is about just paying attention." - Robert Rauschenberg

Amptext, the solo project of Gary Rouzer, seeks to investigate the boundary between music/noise, sound/silence, and instrumental technique/gesture using cello, prepared bass, clarinet, cardboard, cassette tapes, amplified objects, record player, and field recordings.

(upcoming concerts see https://georgwissel.wordpress.com/terminedates/ )
Improviser, Composer, 
Sculptor of compressed air via augmented saxophones, clarinet and other soundsources
working internationally as Improviser 

current projects:
Solo: - "the Arte of Navigation"; navigations for (prepared)    saxophones
          - "MIND THE GAP", for solosaxophone and 'tape'
          - various acousmatic compositions
Duo:   - WISSEL&LYTTON -science friction of flow- (D/UK); 
                Georg Wissel,(prepared) saxes and Paul Lytton, percussion
           - DiG ; with Dušica Cajlan - melodika, extended piano/zither; 
                Improvised music sometimes also with chips of folksongs
                from the west balkans  
           - the MirrorUnit (D/AUS), with Tim O'Dwyer, two 
                 altosaxophones, two Improvisers and two explorers, too  
                                 
Trio:    -O W G , with Rieko Okuda -piano/electronics, Jonas Gerigk -
                bass, GW -augmented alto sax
            - Broken Ghost Consort (US/D/CZ) Matthew Goodheart, pno, 
                  reembodied sound objects, George Cremaschi, bass, GW, 
                  clarinet/bassclarinet
             - SIN-3 (D/A) Burkhard Beins, perc., Thomas Lehn, EMS 
                synthesizer,  GW, alto sax + preparations
            
Quartet: - EEPS with Paul Lytton-perc, Joker Nies-electr., Richard 
                   Scott-electr., GW-prepared saxophones
               - Canaries on the Pole (D/B); with Jacques Foschia, cl; Mike 
                    Goyvaerts, perc; Christoph Irmer, violin
large Ensembles: 
             - WIO (Wuppertaler Improvisations Orchester); one of 
                  europes finest Improvising Orchestras working with 
                  conduction signals

collaborations with Jonathan Aardestrup, Liz Allbee, A-Trio, Peter Behrendsen, Lawrence Casserley, Nicolas Collins, George Cremaschi, John Edwards, Jonas Evenstad, Matthew Goodheart, Gunda Gottschalk, Ensemble Handwerk, Paul Hubweber, Carl Ludwig Hübsch, Harald Kimmig, London Improvisers Orchestra, Lukatoyboy, Marcelo Maira, Jerome Noetinger, Dan Peck, Tim Perkis, Pöhl Musik, Melvyn Poore, Michal Rataj, Frank Köllges'  Adam Noidlt MISSILES, Manja Ristic, Simon Rummel Ensemble, Nicolas Simion, Norbert Stein, Styrian Improvisers' Orchestra, Ute Völker, Rie Watanabe, ...

CD and broadcast productions
tours and festivals in Europe, South America, Middle East, Asia, Australia, USA

Eunk es una plataforma que busca vincular a músicos y artistas independientes que trabajen experimentación sonora, improvisación, paisaje sonoro y practicas interdisciplinarias. Ofreciendo un espacio de difusión, físico y virtual, que permita exponer sus obras. 

Srnt
Música experimental / Ruido / Improvisación

The Oregon State Research Collective for Applied Acoustics (ORCAA) is a bioacoustics lab run by Dr. Holger Klinck at the Hatfield Marine Science Center.  Sound clips found here were recorded by students and contributers to the lab.  We specialize in marine and terrestrial animal acoustics spanning from sperm whales to chorus frogs.  

I like to work with simple and complex sounds. I use garbage, objects, and electronics to interact with its sounds on musical improvised performances.
https://eduardoastudillo.tumblr.com/

Eduardo Astudillo is following