Guido Möbius is a man on the go. Out of his Berlin officerecordingstudio he operates the Autopilot music publishing house and promotes record labels such as Sonig, Smalltown Supersound and Klangbad. Additionally he runs the small emphase label releasing among other things a 7" series of 1-instrument music and the last album by Anne Laplantine. And first and foremost he is a musician, now concentrating on his solo work and live appearances with bass player Alexej Gottschau after playing in various band formations.

Two years ago his solo debut "klisten" had the press and music lovers everywhere turn somersaults when hearing this wonderfully whimsical smorgasbord of countless tiny sounds and instruments. All material on "klisten" had been strangely interwoven, laminated and set against each other yet always remaining songs, almost Pop. And despite all the complexity and craftiness it never sounded difficult, academic or pompous. One could dive into this music or simply move within it and discover a new plant behind each corner. But one would never be led astray by it. And if you walked the same path a few days later suddenly new buds had grown and someone might have carved a few weird symbols into the trees.

And just before we started to miss Guido Möbius he surprises us with "Dishoek", his second album, recorded for Hamburg’s Dekorder label. Again featuring a conglomeration of acoustic and electrical instruments (guitar, bass, violin, cornet drums, synthesizer, clarinet among other things.) and a variety of guests, so that one hardly dares to call it a solo album. Still everything is magically held together by one single person. Melodies and noises, styles and individual characteristics, intelligence and humour collide and become friends for live. We hear Krautrock minus Rock, Folk minus tronics, Pop minus popular; Psychedelia meets Improvisation meets Electronica without the slightest know-it-all approach. Styles get intermingled, copulate and finally dissolve completely to become only music without the need to be labelled because it is functioning completely within its own context and never fails to astonish. The computer remains a tool, never an end in itself and the alleged separation of acoustic and electronic music becomes completely obsolete. With its wily down-to-earth approach "Dishoek" proves that an eagerness to experiment and the will to explore unknown territories do not have to sound arduous yet always have the ability to gently surprise any adventurous listener.

"There´s little to be said for "Klisten" beyond celebrating its endless capacity to delight, confound and unsettle through its unlikely instrumentation and arrangements and a complex rhythmical sense. Its beauty is of the gratious, thing in itself variety. All the more reason, strangely, to fall in love with it." THE WIRE