HR158 - Das Synthetische Mischgewebe - Everything Is Nothing - C60 — 1989
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SIDE A:
ENTSCHEIDUNG 1 - DECISION 1 REISE - JOURNEY ANKUNFT - ARRIVAL STUMM - MUTE BLEIBEN - STAY |
SIDE B:
ENTSCHEIDUNG 2 - DECISION 2 GESTALTEN - CREATION (...) - (...) |
REVIEW by Jerry Kranitz
Das Synthetische Mischgewebe was founded in Berlin by Guido Hübner and on this release is the duo of Hübner and Rainer Frey.
Side A is comprised of two extended tracks. The set opens with an eerie blend of Halloween soundtrack and machine shop vibes. The theme soon shifts to the droning sensation of being in a railroad yard, with the attendant crunching, groaning, scraping, and squeaking sounds. I like how the mood waxes and wanes between quietly understated and varying levels of grating on my brain. I felt like a hobo camping as a single train struggles to position itself for the night. The next track is similar but more steadily flowing and noisily ambient. (how’s that for an oxymoronic experience!) Sqronking horns inject a feeling of free-jazz angst that melds nicely with the overall squall. There are scattered abrupt moments where the entire proceedings are tossed into a high-speed collage chaos blender, adding jarring interludes to the piece. And it sets a nice groove too, in its own noisily strange way.
Side B is dominated by a 22-minute excursion, much of which is like the quieter, flowing passages from the A-side, though this has a spacier atmosphere but also some wild and crazy alien and heavy machinery effects. Rounding out the set is two shorter tracks. One is a disorienting jolt of electronic waves and pulsations. And the set wraps up with an equally brain scrambling glom of good fun electronic chaos.
CLICK HERE for a detailed and very interesting interview with Guido Hübner from 2015.
Das Synthetische Mischgewebe was founded in Berlin by Guido Hübner and on this release is the duo of Hübner and Rainer Frey.
Side A is comprised of two extended tracks. The set opens with an eerie blend of Halloween soundtrack and machine shop vibes. The theme soon shifts to the droning sensation of being in a railroad yard, with the attendant crunching, groaning, scraping, and squeaking sounds. I like how the mood waxes and wanes between quietly understated and varying levels of grating on my brain. I felt like a hobo camping as a single train struggles to position itself for the night. The next track is similar but more steadily flowing and noisily ambient. (how’s that for an oxymoronic experience!) Sqronking horns inject a feeling of free-jazz angst that melds nicely with the overall squall. There are scattered abrupt moments where the entire proceedings are tossed into a high-speed collage chaos blender, adding jarring interludes to the piece. And it sets a nice groove too, in its own noisily strange way.
Side B is dominated by a 22-minute excursion, much of which is like the quieter, flowing passages from the A-side, though this has a spacier atmosphere but also some wild and crazy alien and heavy machinery effects. Rounding out the set is two shorter tracks. One is a disorienting jolt of electronic waves and pulsations. And the set wraps up with an equally brain scrambling glom of good fun electronic chaos.
CLICK HERE for a detailed and very interesting interview with Guido Hübner from 2015.