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

Experimental and improvising musician. Have been treating electronic and acoustic devices since the late 80s. 

More info at:
www.hermanmuntzing.com

Dark and improv-oriented indierock with haunted melodies and ghostly rhytms. Dödsansikte, which means the face of dying, is born and based in the land of the midnight sun. A blaze in the northern mine. New music will leave the world in ashes soon! 

Dödsansikte: 
Martin Wikström - guitar and electronics
Torbjörn Ömalm - guitar and sampler
Markus Larsson - drums and percussion

Cassettes available at https://torbjornomalm.bandcamp.com

Rävelden:
Luigi Bozzolan - piano
Torbjörn Ömalm - electric guitar
Markus Larsson - drums/percussion

Feat. Achille Succi - alto sax and bass clarinet

Engineered, recorded and mixed by Johan Karlsson at Twin City Choir Studios, October 2015 in Malmberget – Sweden
Mastered by Ronald Vikström in February 2016
All songs written/improvised by Rävelden

The trio is based in Gällivare, Swedish Lapland, and plays music that is based on a collective improvisation following its own identity.

Achille Succi contributed with some really superb musicianship to the trio in a vibrant arctic studiosession.  

An album will be released during the spring of 2016 through the Italian label Setola Di Maiale. Album titel: Dola Suite

NIO (Norrbotten Improvisers' Orchestra) is an open ensemble or platform for free improvisation based in north Sweden and closely connected to Kluster, the association for contemporary music in Norrbotten. The orchestra - one of the few orchestras of its kind in Sweden, apart from GLO (Great Learning Orchestra)and AE (Aleatoriska Ensemblen)-  is available for concerts and collaborations with musicians and composers who wish to explore the sonic possibilities of musical improvisation, as well as with poets/writers, dancers, performance artists, film makers, visual artists and other creators.
If you want to create something with NIO, or organize an event with the ensemble, don't hesitate to contact us!

Contact/Booking: Anders Lundkvist (artistic leader): 
anderslundkvist123@yahoo.se, +46709283037

NIO @ Facebook:
https://www.facebook.com/profile.php?id=100063456730138
NIO performance clips on YouTube:
https://www.youtube.com/@klusternorrbotten4437
https://www.youtube.com/watch?v=wJjfW71qWc4&t=747s


Previous live concerts:

Since the first live performance by NIO (featuring guest musicians Johannes Bergmark and Martin Klapper) at New Directions Festival in Piteå, Mar 28th 2015, the orchestra has performed at  New Directions Festival 2016 and 2017 as well as at NYMUS Live festival in Härnösand 2016 and 2021, at Uma Obscura Festival in Umeå 2016, Midvinter Festival and RESONANS Festival in Piteå 2022 and collaborated with composers/musicians Sten Sandell, Herman Müntzing and Björn Eriksson, as well as performed pieces by Pauline Oliveros. At the online performance Mar 20, 2021 as part of the NYMUS Live Festival 2021, NIO performed "Quintessential" by Pauline Oliveros and a new piece by Björn Eriksson, "Nove stazione" (2020-21, premiere). In connection to the NIO concert, there was the premiere performance of the piece "Towards the event horizon" (2021) by Hans Jonsäll, played by a three of the members of NIO. More info about the concert here: http://www.nymus.se
In Piteå Mar 25 2022 at the RESONANS Festival, organized by Kluster, NIO  joined forces with Aleatoriska Ensemblen (AE), performing pieces by Pauline Oliveros and Björn Eriksson. 



About KLUSTER:
KLUSTER is an association for contemporary and experimental music in Norrbotten, north Sweden. Apart from setting up concerts and festivals, KLUSTER also regularily organizes workshops and musical meetings in order to create a network for innovative and experimental music in north Sweden. 

KLUSTER webpage and social media pages:
http://www.kulturforeningenkluster.nu
https://www.facebook.com/klusternorrbotten
https://www.youtube.com/@klusternorrbotten4437
https://www.instagram.com/kulturforeningen_kluster/

Listen to recordings from KlusterLab, the musical meetings from which NIO was born:
http://www.soundcloud.com/klusterlabbet
http://www.soundcloud.com/klusterlab_norrbotten
http://www.soundcloud.com/klusterlab
http://www.soundcloud.com/klusterworkshop

Björn Eriksson (aka Miulew) making electronic and acoustic experiments including field recordings and radio art. Björn has also during the last 10 years been doing a lot of electronic music in different contexts, among them together with the Tapegerm Collective under artist name International Garbageman. Besides making electronic music he also plays acoustic and electric music in different contexts.

Percussionist, computer musician and interactive media designer from Canberra, Australia.

is a Berlin based experimental musician, sound & visual artist, performer & composer.

From early age on he takes classical flute & theory lessons and then rapidly moves on to alto saxophone during high school and college. After going through the basics (Swing, Bebop, Baroque and Classical Music) he specializes on Free Jazz, Improvisation, Ethnic and Contemporary Music Schick starts taking every possible chance to sit in with semi-professional college bands. His skills and reputation grow fast and he soon is in strong demand as a lead alto player performing with prolific modern, free and avantgarde jazz groups and also helps out in swing, rock, reggae, or traditional brass bands all  around in Germany, Austria, France & Italy. At the same time a friend of the family introduces him to a vast vinyl collection containing anything from jazz, to the most far out avantgarde & Schick starts exploring and collecting music profoundly. His interest early on is free jazz, improvisation, electro-acoustic music, noise & punk, industrial, musique concrete and traditional african music. He starts experimenting with multitrack tape machines, broken records, prepared and manipulated turntables, effect boxes, found instruments and sound makers and produces frequently performances of his own music and collages. For those he often invloves local musicians and friends. His unusual output at the time in sometimes provokes controversial reactions between fascination, astonishment or complete rejection and makes him a pretty know local figure.

After college he studies at the Academy of Fine Arts in Munich and works for a few years for the contemporary composer & avantgarde pioneer Josef Anton Riedl.

Since late 1995 and when not traveling he mainly works and lives in Berlin where he becomes an active force of the so-called “Nouvelle Vague” and the experimental music” scene. During the mid & late 90ies his interest and activities strongly shift towards electronic music. After undergoing a long process of researching an ideal live-electronic set-up (he is testing hard- & software samplers, different controllers and selfmade devices, signal processors exploring material & field recordings) Schick develops a pretty unique, rather hands on and iconoclast audio-visual performance instrument which at the time he calls “Rotating Surfaces”. Objects and selected materials of different nature (wood, metal, plastic, paper or violin bows and cymbals) are scraped directly onto the rotating and the slightly modified/prepared metal plate of the turntable. The vibrations and frictions are amplified with a small condensator microphone and are then manipulated with several live-processing and re-sampling techniques. Sometimes and in addition video cameras project the visual effects on screen. Within a period of 4 to 5 years he has developed a pretty virtuoso catalog of techniques, sounds materials and tricks and performed worldwide with this unique set-up. With his "Rotating Surfaces" and other inventive set-ups he performs within many different genres of experimental music. His creative & musical curiosity is pretty much beyond limit, his taste & musical quality stand for a pure and raw beauty.  Musical risk, fragility & the acceptance of sonic accidents have always been important to his aesthetic philosophy. Since many years he favours instant live performance to canned music. Schick has been highly productive - stylistically his music comprises minimalsim, musique concrete, electronica, cut-up collage, instustrial ambiences, harsh noise to contemporary electro-acoustic improvisation and composition. Also he blends free jazz, electro-acoustic music with traditional music and works on his own fake folk forms with sometimes surrealist and dadaist notions. 

Recently he has strongly returned to composition, conceptual work, sound installations and writings. His ongoing interest for obscure collage, found objects, mechanical machines, calligraphy and lost archives have led into a vast body of graphic works, drawings, texts, collages, notations, photography & scores. In his visual and conceptual works he tries to  challenge perceiption patterns in general. Some of his pieces are rather absurd and full of paradoxes. Schick finds obscure ways to question & blur reality while pushing the art of story telling to its limit. Fictional outsider tales, myths and fake folk memory are obscured with reality.

Besides his numerous collaborations in small chamber music situations with an who is who of international experimental performing artists( i.e. Thomas Ankersmit, Claus Van Bebber, Andrea Belfi, Alexei Borisov, Sebastian Buczek, Maria Chavez, Phil Durrant, Jason Forrest, Limpe Fuchs, Gunnar Geisse, Christoph Heemann, John Hegre, Philip Jeck, Zbigniew Karkowski, Sven-Åke Johansson, R Keenan Lawler, Matmos, Seiji Morimoto, Aaron Moore, Toshi Nakamura, Andrea Neumann, Charlemagne Palestine, Mat Pogo, Dawid Szczesny, Martin Tetreault or David Watson to name a few) he is initiator/founder and/or artistic director of ensembles and musical collectives like Yemen Breakfast, Hawking, Ruf der Inakustik, KIM, Overdue, Perlonex, Snake Figures Arkestra, Tree People, Phosphor, Blind Snakes, Decollage, Berlin Sound Connective, N.I.E., ISEA (Ignaz Schick Electro-Acoustic Ensemble), The Berlin Experimental Band, Radio Nightmares, BETT4, Kim, ... He is part of the "Berlin Splitter Orchestra" and frequently collaborates/d with composers like Josef Anton Riedl, Matthias Spahlinger, Michael J. Schumacher, Sidney Corbett, Alex Nowitz, Oliver Prechtl, Sven-Ake Johansson, Oyvind Torvund, Christian Marclay or Otomo Yoshihide. He performs his own compositions and has received commsissions by internationally renowned soloists, ensembles, festivals and institutions worldwide.
Besides his electro-acoustic output he has learned/studied and/or performed with some of the World's finest jazz  & free jazz musicians (amongst others Johannes Bauer, John Betsch, Ernst Bier, Mwata Bowden, Don Cherry, Marty Cook, Tristan Honsinger, Paul Lovens, Amine Mesnaoui, Andrea Parkins, Jim Pepper or Johannes Schleiermacher, ...). Schick has toured, taught, researched and performed music and sound art continuously all over the World (Europe, Australia, the Baltics, Canada, Finland Hungary, Israel & Palestina, Malaysia, Morocco, New Zealand, Norway, Russia, Slowenia, Ukraine, USA, Russia, ...). 

He has published a fine discography on imprints like Zarek, Edition Zangi, edition x, Happy Zloty, Irrah, Potlatch, Bad Alchemy, Charhizma, Staalplaat, Nexsound, Non Visual  Objects, Improvised Music From Japan, Absinth, Ambiances Magnetiques, Let Petit Mignon, RCA or Mikroton. Ignaz Schick produced several sound art pieces and compositions for radio plays, film, theatre and dance companies of international reputation (Staatoper Berlin, Radialsystem, Sophiensäle, Volksbühne, The Place Theatre, Narodny Dom Ljubljana, ...) and worked  for (inter)nationtal radio programs like ORF-Kunstradio, ORF-Zeitton, RBB-Hoerspiel, DLR-Kultur. His music was broadcasted and streamed all over the world via stations like DLF, BR, WDR3, DRS, CBC Canada or HR. He also supported many smaller independent radio stations like Radio Student Slovenia, Radio Copernicus or WFMU New York. In addition he has established a reliable reputation as producer of experimental artists, releases and international tours and helped numerous sound artists releasing their music. He produced more than 15 albums on his own imprints Edition Zangi & Zarek and has been curating festivals of experimental music from the early 90s onwards (FAM, Erase & Reset, Time Shifts, The International Turntable Orchestra Akadiemie der Künste 2009 or Echtzeitmusiktage Berlin 2010 ...). Since 1994 he has received several stipends and grants for his compositions and sound art.  In 2011 he decides for a harsh cut & break in his career and completely focuses on finishing the work  on an extensive meta-theory and -language which he had started compiling since the year 2003 or 2004. An ongoing, vast and almost unmanagable enterprise & work in progress. "The Books" organizes and subdivides his conceptual work into six different books or thematic monikers (BoM, BoS, BoL, BoT, BoC, BoMo, BoP, ...) The first one [Book of Music] is a manifold compendium of strategies, resources & materials about structuring larger creative ensembles and was supported with a composition grant from the City of Berlin.

Since June 2012 he has devoted all his time and private savings to a 12 months travelling project (The Nomadic Year 2012 - 2013) which during the process became a pretty fierce, self-reflective and highly political satire and critique of our present time. In TNYP Schick is strongly scrutinizing human patterns of profusion & conspicious consumption. During a rather existential sabbatical year with pretty obscure and adventurous everyday occurances and despite two malicous thefts Schick originated an estimated amount of 1000 new works, slips & pieces (mainly diary accounts, writings, found objects, sound makers, collages, drawings, photos, compositions, lecture fragments, poetry, notations, scores, recordings, fictional tales, stories & myths) which are based on the intense and often limit-exceeding experiences of his one year vagabond trip through Central Europe.

Discography [Excerpt]
Ignaz Schick & Decollage - Lonely Woman - David Records 1996
Perlon - The Bad Alchemy Pieces - Bad Alchemy 1999
Perlonex - Perlon - Zarek 1999
Ignaz Schick - Tabit - Zarek 1999
Ignaz Schick & Decollage - Live Vol. 1 & 2 - Zarek 1999
Ignaz Schick & Andrea Neumann - Petit Pale - Zarek 2001
Perlonex - Peripherique - Zarek 2001
Phosphor I - Potlatch 2002
Perlonex/JuliJuni - With Enemies Like This Who Needs Friends - Happy Zloty 2004
Ignaz Schick & Jason Forrest - Blood Orchid - Improvised Music From Japan 2005
Perlonex/Keith Rowe/Charlemagne Palestine - Perlonex.Tensions  - Nexsound 2006
Ignaz Schick - Frost - Absinth Records (2007)
Ignaz Schick & Dawid Szczesny - The View Underneath - NVO 2007
Ignaz Schick - Butania Metallica - Edition Zangi 2008
Ignaz Schick & Martin Tetreault Live 33 45 78 - Ambiances Magnetiques 2009
Phosphor II - Potlatch 2009
Perlonex & Charlemagne Palestine "It Aint Necessarily So" Zarek 2009
Snake Figures Arkestra - Cooks & Devils 2009 Zarek
Ignaz Schick & Dawid Szczesny - Live in Geneva Zarek 2011
Andrea Belfi & Ignaz Schick - The Myth of Vision Revisited Zarek 2011
Tree People & Pokemachine - Split - Let Petit Mignon 2012
Echtzeitmusik Berlin - Mikroton 2012

Works & Compostitions (Selection):
Die Wüste bleibt leer 1993
Liebe macht blind 1994/1995
Puppy Love 1996/1998
Tabit 1998/1999
Amplified Body 2000 (with Snjezana Premus)
Metaflexes ORF-Kunstradio 2000
No Tea, No Dogs 2002 (with Snjezana Premus)
Astatic - für Resonanzkörper & Feedback (2003)
Rotating Surfaces 2004-2012
Stolen Moments 2008
Cooks & Devils 2009 (with Marcel Türkowsky)
Butania Metallica 2009
The Six Books (BoM, BoS, BoT, BoL, BoMo, BoC) 2009 - ∞
Hans im Glück RBB-Kulturradio 2009 (Götz Naleppa)
The Paiva River Collection 2010/2011
The Myth of Vision of Persistence Revisited 2011 (with Andrea Belfi)
About Electric Bugs & Other Strange Insects (Festival Experimentelle Musik München) 2011
Pastik Fantastik (with Sebastian Buczek) 2012
Leckermänner - Dichten in Fahrtrichtung DLR-Kultur 2012 (with Götz Naleppa & Natascha Nikeprelevic)
The Ripper [Archive] ORF Kunstradio 2012
IT: Crying Games Documenta 2012 (with Irena Tomazin)
Archival Drift DLR-Kultur 2012
The Nomadic Year Project 2012-2013

Objects, Installations & Concept Works [Selection]
Kratzen (Edition Zangi) 1990
Käseplatte (Edition Zangi) 1990
Wicklungen & Schichtungen 1995
Wannenbass (1995)
Reibemaschine (1995)
Nuts (Edition Zangi) 1998)
Mousemachine (1997/1998)
Flicker/Stutter (Garage Stralsund 2004)
Washing Aluminium (Friedhofskapelle Berlin, 2005)
Sheets & Shells (Studio P4C Berlin 2005)
Ghosts/Vibrations (Tesla Berlin 2006)
Oh Mali I Miss You (Berlin Fantastischer Zustand 2005/Tonspur Museumsquartier Wien 2010)
Vinyl Rockets(2010)
Rotary Perceiptions 2010-2013
Mates & Plates (2013)
Schiesser (2013)





Alexandra Nilsson / Solovkina is a composer, musician and soundartist based in Stockholm, Sweden.

Her work stretches across acoustic and electroacoustic music, sound art, noise and performative practices. Lyrical as well as brutal, minimalist and maximalist, her art extends the most subtle expressions to the harsh and fierce. She searches for organic transformations and the transcendence of the material. With a background in jazz and folklore, energy movement and rhythm are also important aspects of her practice.

In 2010 she received a Masters Degree in composition at the Royal College of Music in Stockholm. Her Master focused on music for film and she is continuously interested in interactions between sound and image and narrative aspects.

She has composed for chamber ensembles and orchestra, as well as for theatre, dance and film, and she collaborates on a regular basis with visual artists and musicians/performers internationally with performances in Sweden, Norway, Germany, France, Iceland, Japan, Russia and Brazil.


Collaborations:
SISTERLOOPS - performative sound art and noise duo with stage artist Marie Gavois
https://sisterloops.wordpress.com
SHAPES OF SOUNDS - audiovisual duo with visual artist Jenny Soep
http://www.shapesofsounds.com/
RADIO TWO - electroacoustic duo with trumpeter and improviser Susana Santos Silva
http://radio-two.tumblr.com 


http://www.alexandranilsson.com

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/

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