Guido Huebner, DSM, électro analogique



DAS SYNTHETISCHE MISCHGEWEBE described to be notoriously, responsible for 20 Years of Electro-acoustic Noise minimal, complex, silent, noisy, boring and exciting at the same time and all of this within the same track! (Bon Bon Records, SU) and digitale Musique Concrète in which the electro-acoustic element is totally gone (Vital NL). The missing link between Masami Akita (Merzbow) and Pierre Henry (discus mortus, F) wraps us in a Membran, that makes us becoming unsure, if it are the noises, that penetrate into the silence or rather a virulent, powerfull, lurking silence, that as a frightening alien, mute, unhuman is breaking into our loud "normality" (Bad Alchemy, D).


DSM has lived and worked in Berlin, Barcelona, Bordeaux and now resides in Caen in the Normandy and in Nice, F. DSM has come accross most european countries, New York Montreal to Sao Paulo presenting their multi-disciplinary creations ranging from installations, performances, concerts to lectures. The edition of records, journals, books, articles and essays as well as internet sites has always been a major occupation. Since 2 and a bit years all concerts are done with Samuel Loviton and recently Guido Hübner composed for the berlin based Zeitkratzer ensemble "the CD-player in my life" and worked for a month in the studio for electro-acoustic music of the arts academy of Berlin and Isabelle Chemin illustrated texts of Jean René Lassalle and prepares one of her

own for a forthcoming edition.


Guido Hübner founded DAS SYNTHETISCHE MISCHGEWEBE once in the early 80's in Berlin. With a loose ensemble of individuals of different disciplines DSM worked since in many different forms of artistic expressions running from concerts and performances to mixed-media installations with topics in neurology and cognitive science. Works had been presented in most parts of Europe, in New York, Montreal and Sao Paulo. However, DSM is mostly recognised for it's musical output, having released numerous cassettes, vinyl and CD releases in it's 20 years on labels in Europe, Japan and the United States. The descriptive keyword for the music is "montage" framed by fragment and collage. Mostly, but not exclusively working with concrète and electronic sounds the interest of the experimental approach is to explore were a given combination of sounds is perceived as associated, united, blended together to appear as a continuity and were as disconnected, fragmented, divided components that evoke rupture and how both can be combined and shaped into a significant structure.

Besides it's numerous solo release and concerts DSM has collaborated with many artist such as ERG (usa), ARTIFICIAL MEMORY TRACE (cz), THE OVAL LANGUAGE (ger), MSBR (jp), VESTIGE VERTICAL (ger), THIERRY MADIOT (f), RADU MALFATTI (aut), CLAUS VAN BEBBER (ger), TBC (ger), TORE HONORE BOE(norway)... In 2000 while also got granted a residence in the studio for electro-acoustic music of the arts academy of Berlin a piece for four instrumentalists with accompaining CD for each, entitled "the CD-Player in My Life" had been composed for the ZEITKRATZER ENSEMBLE (ger), as well as later on a piece for Saxophone and Electronics entitled "blasenleiden" for ULRICH KRIEGER (ger).

Since 1996 residing in Caen in the Lower Normandy, DSM had been based before in Bordeaux since '91 and Barcelona since '87. Isabelle Chemin, with who most performance and installation works since '85 had been created is living in Sophia Antipolis near Nice since '98. DSM was already working for variouse scientific/medical projects while residing in Bordeaux, those Isabelle Chemin is currently participating as consulting artist in the development of virtual environments for patience with social phobias, a collaboration of several european universities for which DSM creates as well the sound environment.

Starting of in Berlin, armed with a visual education in the early 80's to compose for light installations with open-reel mashines, cassette recorders, microphone and guitar fuzz boxes and become quickly part of the international cassette scene. Toured with shows that combined performance elements, texts and live-actions with compositions using electronic and mechanically produced and processed sounds. Often presented in a-typical spaces and settings. Toured regularly and participated to international festivals in Berlin, Bordeaux, Zaragossa, Amsterdam, New York, Montreal, ...

Resident in Barcelona, Bordeaux, now in the lower Normandy. Since the 90's producing vinyls and CD's on international labels. Collaborations with musicians for concerts and recordings such as Frans de Waard, Ios Smolders, Artificial Memory Trace, The Oval Language, ERG, MSBR, Toy Bizarre, Roel Melkoop, Ralf Wehowsky, Thierry Madiot, Radu Malfatti, Samuel Loviton, Vestige Vertical, Stéfan Rives & Agnés Pallier, Claus van Bebber, Tore Honore Boe, ...

Recorded a 4-channel composition in the studio for electro-acoustic music of the arts academy of Berlin in the 2000 with a grant from the Podewil. Composed a double-quatour for the Zeitkratzer Ensemble. Composed the piece "blasenleiden" for Tenor sax and live-electronic for Ulrich Krieger in 2001. Composed a 4-channel piece for the Cling Film participation to the European Cultural Capital festival in Bruges 2002. Composed a piece to be premiered in a festival on électro-acoustique musique august 2003 in Caen, France to be diffused on a dispositif of 50 loudspeakers.



This is the first record of famous french/german multimedia band, which title means 'synthetic mixedfabric'. Structured noise, yet dynamic music with the rich sound-palette. Besides traditional electroacoustic equipment, a guitar is used (quite unusually played, because personally I can't recognize it anyway). Common concept is adaptation of large scientific potential to modern art world. DSM performances using electronic devices, visuals, experimental poetry and weird interiors, provides an interesting point of view on artificial shell which is actually our environment now.

"When we open the window we can hear the sea in the distance.

But people say: it's not the sea. there is no sea here.

When I open the window at night, I see the big grey buildings and I hear sshhh ssshhh...

People say: it's the noise of the cars, or maybe the wind blowing against the walls of the buildings. But there are no cars around, and no wind on this quiet night.

When we lie on the bed at night. we can hear the sea.

My friend says: "it's like ssshhh summ summm... the whisper of thousands of worms eating my body.

I can not sleep... I'm going crazy." But I say: don't worry, it's just the sea..."

(text by J.R.Lassale)

about the LP : "The Harvest Of Magnetism/ Ueberlebensformen II"

Dimitry Vasilyev, +

... So vereint DSM stakkatosonische Akupunktur mit Breitwandnoise und Mikrosynthetik – und mittendrin bleibt die Stille, zwar betsändig, doch nie unverändert. Sie ist Dreh- und Angelpunkt des Geschehens, Ruhepol und Diktator, beides bereits im Titel suggeriert. Die komplexen Strukturen folgen Wellenbewegungen, die nie als geschlossenes System nachvollziehbar bleiben, sondern ständig vom Bewustsein erst nach Vollendung des jeweils erfolgten Schrittes zusammengesetzt werden müssen. Der Buch selbest bedigt dabei die Wahrnehmung, gleich wuchernder Linien, die sich in alle Richtungen zerstäuben, um sich zu neuen, bislang ungehörten Formen emporzuarbeiten.

about the CD : Some Conceptual Obligations, the Usual Rough & Rumble and the Conspiration of Silence Annibale Picini, Artefakt #6

DAS SYNTHETISCHE MISCHGEWEBE existe depuis une "petite" vingtaine d'années et j'ai très honte d'avouer que je le découvre aussi tard! d'autant plus que la découverte est de taille : Some Conceptual Obligations, the Usual Rough & Rumble and the Conspiration of Silence (PAL) aporte une suite de manipulations électroniques réminiscentes du "meilleur" de Roel Meelkop, Daniel Mensche, RLW in between noise, id Battery, Farmers Manual ou John Duncan ...

about the CD : Some Conceptual Obligations, the Usual Rough & Rumble and the Conspiration of Silence Peace Warriors #13

DAS SYNTHETISCHE MISCHGEWEBE qui prouve l'importance du silence et de la respiration dans la musique; beaucoup des gens sont passés à coté de ce grand musicien qui pour moi est vraiment le chainon manquant entre Masami Akita et Pierre Henry ...

Nico ! Discus-mortus #1

KREUZFAHRTJOBS.DE - Leben und Arbeiten an Bord - [ Traduire cette page ]

... Schon nach wenigen Wäschen beginnt das synthetische Mischgewebe, kleine Schläufchen nach außen zu strecken, was von fern betrachtet so aussieht, als ob sich ...

Verantwortlich für 20 Jahre Elektroakustik-Noise-Minimal, Komplexität, ruhe, Aufregung – und das in einem Track. Der verschollene Link zwischen Masami Akita und Pierre Henry

PODEWIL/ Pre-Mix ICMC international computer music conference 2000, Berlin

Programm Mai 2000

Zum ersten mal treffen DSM, Roel Meelop und Toy Bizarre "live" zusammen, ein kollaborativer Crash Course zwischen dem Fast-Nichts, an den Grenzen der Wahrnehmung von Meelkop, den akustischen Spuren urbaner und ländlicher Landschaften von Toy Bizarre und dem Hochgeschwindigkeits-Partikel-Ping-Pong maximaler Komplexität von DSM

PODEWIL/ Grosse Studios, kleine Sampler

Programm Dezember 2000

Guido Hübner und sein DAS SYNTHETISCHE MISCHGEWEBE dringen klanglich in immer abgelegenere Terrains vor. Phasen der Starre und scheinbaren Leblosigkeit werden bestäubt von undefinierbaren Klirren und Surren.

Für DSM wird mit diesem Release stärker eine kompositorische Linie erkennbar: das Ausrichten von Klängen aufeinander in thematischen oder der Wirkung gemässen Gruppen erwirkt in den scheinbar lose gesetzten Klangereignissen einen Sinngehalt, den man bei derart abstrakter Geräuschmusik nicht oft findet. Dazu gibt es massig Texte, die nichts erklären aber doch einiges von der Intention von DSM beleuchten.

about the CD : Some Conceptual Obligations, the Usual Rough & Rumble and the Conspiration of Silence Zipo, Auf Abwegen N° 27

M-Info: Klarheit im «Waschmitteldschungel»

... Wäsche gibts sogar das spezielle «Total black&color». Die Spezialisten. Für farbige Feinwäsche wie Leine und Synthetische Mischgewebe empfehlen wir «Minil ...

An amazing CD release from 1992 (...)

A Powerful mixture of both electronics, and natural, organic sounds that is both beautiful, And terrifying at the same time. Highl y recommended!

about the CD : Interferences et plus ?, Self Abuse Records

... Et puis, s'il s'est apaisé, le travaille de DSM ne resemble pas encore à la production d'un label comme Trante Oiseaux. S'il s'est rendu compte que la silence avait une existence, il ne l'atteint jamais vraiment et les moments calmes, voire apaisés de ses compositions – et oui on peut parler de compositions maintenant – restent étrangement saturés, non pas satrés acoustiquement, mais saturés d'information. ... Ainsi on voit la constante qui traverse la musique de Guido Hübner : la granulation. Il a remplacé la granulation de la saturation par la granulation numérique qu'il ne cesse de faire ressortir.Il produit ainsi une musique pixelisée qu'on pourrait qualifier de granitique, d'un granite rugueux, érode voire de sable. ...

about the CD : Some Conceptual Obligations, the Usual Rough & Rumble and the Conspiration of Silence and the '7 "drum" Eric Cordier, Revue & Corrigée N° 42

... Quand aux sons qui sont issus du CD, c'est du PBK version "in his throes" à son meilleur : Complexité des structures, cut/up brutaux, explosions de bruits, craquements et parasites sonores en tout genres se chevauchent pour donner naissance à une curiosité auditive qui vaut franchement le détour. Les crépitements deviennent symphoniques, les silences interrogations, et le bruit vecteur d'émotions inédites et paradoxales. Les 7 "stratums" (de 3 à 10 minutes) se parcourent comme autant d'expériences géo-acoustiques que rien ne peut venir limiter, c'est à dire qu'intrinsèquement leur interprétation peut et doit être infinie, nous libérant du carcan de toute "musique" pour nous ouvrir au troisième œil et à la méditation enfiévrée! Quand l'expérimental se fait jouissance.

about the CD : Geosynclines in colaboration w/ MSBR and ERG

Christ Mutilé,

Plyta ta pochodzi z 1992r. i zasluguje chyba przez to na miano mlodego dinozaura awangardy, lub co najmniej pozycji leciwej. DSM, dwuosobowy kolektyw zalozony na poczatku 1980 roku przez Isabelle Chemin i Guido Hübner do dzisiaj dziala na przecieciu sztuk plastycznych, performance i muzyki. Szyld pod którym wystepuja ("Sztuczna Mieszanka Materialów") oznaczac ma raczej program, niz nazwe zespolu. Poniewaz nie widzialem na wlasne oczy jak wygladaja inne niz utrwalone na CD prace Isabelle i Guido, ogranicze swoje spostrzezenia do samej muzyki. "Interferences..." zawieraja 3 dlugie utwory (kolejno 24, 17 i 20 minut), które wiekszosc zakwalifikuje zapewne jako noise. Ale halas nie jedno ma imie. DSM oferuja cala plejada najrózniejszych brzmien, czego akurat mozemy spodziewac sie po nazwie. Nie bede ukrywac, ze nie sa to brzmienia przystepne. Pelno w nich brudu i smieci, tak cyfrowych, jak i analogowych. Chwilami slychac mocno elektroniczne tortury a'la Rehberg & Bauer, innym znów razem zebrane mikrofonami zajadle skrzypienia, czy scinki dzwiekowego otoczenia, jakimi raczy nas od lat The Hafler Trio lub pionierzy industrialu. Nie pomyle sie chyba stwierdzajac, iz brud i przester stanowi esencje kazdego z nich. Ale w odróznieniu do drugoligowych (lub, powiedzmy, bardziej minimalnych) noise'owych propozycji np. z wytwórni Solipsism, Das Sythetische Mischgewebe sprawnie i z umiarem dawkuje sciany dzwieku, unika nadmiernego eksponowania typowego efektu typu "przester", którym chyba trudno kogokolwiek dzisiaj zaskoczy?. Album ma zróznicowana dynamike, duzo w nim dluzszych, cichych momentów, które tylko poteguja efekt zaskoczenia podczas naglych halasliwych eksplozji. Dzwieki-smieci, zaszumione i zepsute przeplataja sie z motywami, których brzmienie i charakterystyka zostaly pieczolowicie doszlifowane, slowem, jest tu jakies zycie, dzieki któremu warto posluchac plyty wiecej niz raz. Inteligentne, interesujace i zróznicowane studium brudu, podane w formie udanego kolazu o szczatkowej narracji.

about the CD : "Interferences et plus" Kamil Antosiewicz, przeslij swoja

recenzje :::: recenzje @ terra soundtralis incognita :::

Guido Hübner, malgre sa génération plus avancée, peut encore être considéré comme un concepteur de musiqhe concrète proche dans sa démarche de jeune artistes tels Slavek Kwi (Artificial Memory Trace) ou Cédric Peyronnet (Toy Bizarre). Bien au-delà des concours de circonctances qui bâtissent les modes et les courants épuisants – y compris dans ces musiques – Hübner promène son projet DSM dépuis plus de vingt ans de concerts en conférences. Comme AMT, sa musique travaille l'éspace, l'organisation presque automatique des sons livrés à eux mëmes (ou de l'organe qui le perçoit). Comme AMT, sa musique est governée par la surprise : rien n'est prévisible, la caresse comme l'assaut surviennent sans sommation et créent la stupeur dans leur rôles respectifs. Inspiré par les sciences cognitives et la neurologie, Hübner semble vouloir traduir grâce au support sonore les interférences et les chocs électriques infinitésimaux qui pilotent nos moindres gestes, nos cillements, nos pulsions. Pas étonnant alors d'y entendre le calme olympien vité éradiqué par la violence la plus instinctive – ou l'inverse : chaque événement est séparé d'un autre par un long silence voluntaire (naturel ?). Une bande-son neuronale parfois lourde illustrée par les textes de Jean-René Lassalle et fondée sur un respect mutuel affiché qu'il paraît simple de Partager.

about the CD : Some Conceptual Obligations, the Usual Rough & Rumble and the Conspiration of Silence and the '7 "drum" J, TOW LETTER #4

... Jetzt, 1999, beginnt es geradezu zu sprudeln: eien Single bei Povertech Industries, Samplerbeiträge (...) und sogar eien neue CD – in eienm ganz speziellen roten Plastiketui – mit dem rekordverdächtigen Titel " Some Conceptual Obligations, the Usual Rough & Rumble and the Conspiration of Silence " (Pinch-A-Loaf, PAL 19).Guido Hübner, Jean René Lassalle und Isabelle Chemin finden damit sofort Anschluss an die radikalsten Formen des 'neuen Reduktionismus'. Der Titel verrät schon alles, 'die Verschwörung der Stille' verhindert jedes akustische Spektakel, aber auch, dass wir ungestört mit der Tagesordnung fortfahren. Wir werden von DSM mit einer Membran umhüllt, die uns unsicher werden lässt, ob es die Geräusche sind, die in die Stille eindringen, oder nicht vielmehr eine virulente, mächtige, lauernde Stille die als erschreckend Fremdes, Stummes, Unmenschliches in unsere laute 'Normalität einbricht.

about the CD : Some Conceptual Obligations, the Usual Rough & Rumble and the Conspiration of Silence Rigo Dittmann, Bad Alchemy # 34,

DSM is another group that has been silent for some while but now they're back in business. Folliwing the great collab. with MSBR & ERG this one reinforces their status as one of the most interesting bands in the concrete- noise area. What is remarkable with this album is that DSM manages to create pieces that are minimal, complex, silent,noisy, boring and exciting at the same time and all of this within the same track! Initially it seems like there are a tiny bit less action taking place than on the MSBR/ERG collaboration and the CD is accompanied with a text that makes no sense and seems to go in circles so i don't know if the sound here have a narrative intention but the tracks are fully enjoyable without reading the text. Maybe it's slightly more silent this time? ...or noisy. Still a big recommendation.

about the CD : Some Conceptual Obligations, the Usual Rough & Rumble and the Conspiration of Silence Ronnie Sundin, Bon Bon Records

A threeway collaboration where MSBR and ERG deconstructed each other and sent the material to DSM for the final mix. This results in that this album sounds pretty much as an DSM album since it's pretty unclear what the original material sounded like (although I've read somewhere that ERG specialices in burying microphones underground and record the earth). However, If you've heard what DSM sound like you know what to expect; great electroacoustic noise with delicately structured sound treatments, many shortclipped bursts of sounds with a lot of pauses in between. DSM are real masters of their trade and makes this the best MSBR collaboration I've encountered so far.

about the CD : Geosynclines in colaboration w/ MSBR and ERG Ronnie Sundin, Bon Bon Records

Das Synthetisches Mischgewebe seem back on track. Already in existence for some 20 years or so, Guido Hubner now releases his works on CD's throughout the world. Like usually it's packed with a text by Jean Rene Lassalle (and which I'm failing to understand again). DSM produce a kind of digital musique concrete in which the electro-acoustic element is totally gone. Even though this CD is indexed with 13 tracks, I regard this is as one long compostion. It moves through textures, flickering of light, bursting of metal and crackling of silence - everything happens at the same time, or within seconds from eachother. Or just aswell with longs of gaps of silence (or are these just the silences between tracks?) - these cuts from reality sounds seem to distort your sense of reality. Nothing seems as it is and the spiral takes you down into some wacky dreamworld - a nice mightmare (whatever you prefer I think).

about the CD : Some Conceptual Obligations, the Usual Rough & Rumble and the Conspiration of Silence Frans de Waard, VITAL WEEKLY N° 169 Week 14


MICHAEL PRIME - PRIORY GARDENS (both 7" by Povertech)

Povertech has already an interesting catalogue of 7" releases, and these two are mostly welcomed. Das Synthetisches Mischgewebe open a new series in which 'a single acoustic sound' is recorded and then transformed by analogue and digital means. The sound of drums are in there (like the cymbal being hit), but it's a heavily processed collage of sounds, crackles and popnoise. Kinda like Rehberg or other Megoids, DSM go beyoond, and make it raw and rhythmic, as the percussive feel is most defintely present. Michael Prime doesn't do much else then hanging a microphone in a tunnel or cave and record the bats moving in the space. The role of the composer here is to have good ears and make a decision where to place the microphone. Prime succeeds in that very well, as these are fascinating recordings. Both are excellent productions

about the '7 "drum" Frans de Waard, VITAL WEEKLY N° 159 Week 4

The concept that resulted in this CD is a bit old, but nevertheless a valid one, still. Just like 10 years ago, musicians still exchange 'raw materials', 'rework' them and exchange them back (to anybody younger then 30: you call it 'remix' by today's vocabulary). Other then proving the lifeness of networks (in this case the network of intelligent noise makers - modern concretists), it's also a cross border work. Exchange is communication in some way (I agree that this is discutable however - but to discuss that is not something for a review).

Enough rambling. Erg (being J. Ronsen and Michael Northam) and MSBR (aka Koji Tano, who is also the man who started a label to release this CD) exchanged sound material of an unknown nature (vaguely indicated by 'field recordings') and 'sub' mixed them. The final edit/composition was carried by Das Synthetische Mischgewebe - who finally re-surface after many years of silence. The short opening piece is indeed a trademark for DSM - short cutted sounds that are collaged together, either set next or against eachother. A sort of shock treatment. The next track (which are all called 'Stratum' by the way - so it's not my lazyness by not telling the name of the track each time) is likewise, but has a larger curve to follow. It builts much more slowly until it burts, and continues it's curve slowly after that. These two tracks are programms for the whole CD. Each track is cleverly built of digital cut 'n paste, moving from one source to the next, soft passages to be followd by loud ones, either taking the quick curve or the slow one. But despite this approach, which may seem overall the same, the result that these boys come up with is a varied CD that doesn't bore for a single minute. There is a strong coherency (probably and wisely because of one person being in charge of the end result) throughout this work.

about the CD : Geosynclines in colaboration w/ MSBR and ERG

Frans de Waard, VITAL WEEKLY N° 130 Week 22

Povertech launches a new segment within its "artifact" 7' series, dealing with the manipulation of acoustic instruments, and long running tape rippers DAS SYNTHETISCHE MISCHGEWEBE take on the oldest instrument of all. Despite being played "non-traditionaly", the manipulations take on some rythmic elements, though more Morton Subotnick than Autechre. In fact, I think the only thing that would keep this record from being highly regarded among INA GRM archidiocese (apart from the fact that this is pressed on a '7 record – I mean, how many legitimate composers are pressed on 45's ? Shhh, would you shut up about that damn Composers Series!!) is the obviouse and intentional use of tape crinkle and overload distortions. Lack of sterelity is probably as good a reason as any to be shut out of academia.

about the '7 "drum" Chris Sienco Muckraker #9,

Patches of silence interrupted with noise-pours. Each piece starts quietly and quickly boils over, the noise coming on like a drum roll – rumbling, then sharp. MSBR's harsh electronics serve as landscape, hosting ERG's field recordings and DSM's acoustic clamouring, and all three mount massive cross-channel sound actions before another short moment of silence drowns them out. Geosynclines keeps this same format for it's duration, which allows listeners to catch their breath. Comes in a white box with seeds for some reason.

about the CD : Geosynclines in colaboration w/ MSBR and ERG

Joel St. Germain Muckraker #9,

Musique électroacoustique experimentale – Dans la continuité de l'esthétique de l'école allemande expérimentale (Selektion, Ralf Wehowski ...) DSM développe, à partir d'un contenu sonore électoacoustique, un principe de composition fonctionnant comme processus statique d'apparition et disparition du son.

Concert announcement 2003 Z.E.T. APO33 Nantes