That Kluster made simple music on DIY instruments, droning and banging on one note for half an hour, did not mean we were into any kind of primitivism. We hated the bongo playing hippie and his backward dreams of tribal 'healthy' societies (forgetting that hunger, war and oppression were not invented this year). To us the longing for sweet melodies was a regressive refuge from a world that isn't sweet. We did not want to go back. If the future was inevitable, we wanted to shape it - at least sonically. That we preferred slow tempos sometimes gets mistaken as 'dark'. We just gave every sound enough time to be listened to. And we wanted to draw a line between us and the 'look I am the fastest' guitar heroes that began to rule the stages. What we did was getting rid of the schemes of pop and popular classic and find out, what else we can do with our tools, polishing and lubricating them for a future music.
But no matter how far your mind is in the future - your stomach is still on earth and demands feeding. When things got tougher in the 70ies, the people that met under the labels Kluster and Eruption had to look for ways to earn their living. Conrad Schnitzler started his long solo voyage, Klaus Freudigmann took part in the squatter’s movement, and others took ordinary jobs and surfaced now and then with some new piece of music. What's left are some tapes and a few minutes of film documenting an installation Conrad Schnitzler sat up at Galerie Block (1970) reflecting the ideas behind Kluster. Violins that had bought cheap from the flea market were equipped with contact microphones and plugged into radios that had been mounted to the wall as amplifiers. The visitors (hopefully no musicians) experimented collective with the sounds from the violins hearing themselves in the radio."
Download all zip files and put in a folder together,
Kluster.pt 1.zip
Kluster.pt 2.zip
Kluster.pt 3.zip
Kluster.pt 4.zip
Kluster.pt 5.zip
Kluster.pt 6.zip