Das Synthetische Mischgewebe started in the early 80's in Berlin with electronic, industrial, avant-garde associated cassette releases. A first LP on the outstanding Madrid based label Discos Esplendor Geometrico was followed by CD and vinyl releases on SFCR (F), and Pinch-A-Loaf and Povertech (USA). DSM also did projects with MSBR, Mnortham, Frans de Waard, Jos Smolders, Artificial Memory Trace, Thomasius, TBC, The Oval Language and others. The duo participated in a pile of compilations including a 2009 2CD on Suitcase (USA). Several of their earlier cassette works have been reissued on limited edition vinyl pressings on the German Vinyl On Demand label.
DSM (Guido Huebner) plays a wooden plank or cases filled with wired bits and pieces, hence Surf-Noise, flat guitar, but without the Guitar. He would need an extra Arm, but because it's expensive and the symmetry is disturbed, he consumes a lot of batteries.
(Blurred Edges Festival, Rauschmelder, Hamburg 2018)
DAS SYNTHETISCHE MISCHGEWEBE exists since some 30 years now with a variable membership. Formed in Berlin, the group, composed of interdisciplinary artists
(visual artists, performers, musicians, writers and Engineers, Researchers) has presented performances, installations and
concerts in many European countries as well as in New York, Montreal, Sao Paulo. DSM has also participated to symposiums,
given lectures, participated to several publications and had artists residencies : Association, Pollen Monflanquin/Agen; Wharf,
Centre d'Art Contemporaine, Herouville St Clair; Denkmalschmiede Höfgen; Akademie der Künste Berlin.
In concerts, all sounds are produced, captured and amplified directly (basically making use of objects that aren't meant primary to produce musical sounds : mixers, shavers, can openers and other battery powered things such as sewing machines, wires,strings, chords, alarm clocks, mechanical toys, aquarium and fountain pumps, spray cans, etc.). The listening situations created by these means are as particular as the sound world of the compositions of complex ramifications, non periodic intervals and pointillist hit and run sounds themselves. The audience can walk as pleased around the performer.
Playing on the edge between different disciplines, the audience is invited to discover a universe on the crossway of concert
(between electro-acoustic and live musique concrète), sound installation, performance and even exhibition.
