Maybe, the first word one can think about listening to Guido Möbius' music, for the first time, could be indietron: but, after the first glance, after a little while, the sound starts being not so pop and easy. many intersected rhytms and always-changing melodies turns the mood of this music to something more unpredictable, and someway more twisted, than a simple electronic pop rock.
A lot of strange and traditional instruments are deeply electronically manipulated to create sweet and gloomy inconstant patterns, sometimes hardly emerging from an area of surrounding noise. g.m. works for our beloved german label dekorder, and his work sounds perfectly harmonized with the last label productions, giving at the same time a personal and original interpretation of this way of thinking.

SA: You live in Berlin, how is its fell? I have some friends, musicians, that play gigs around that lived some times in Berlin. They say that Berlin is one of the cheapest city in Europe, and one of the most exciting.. is it real? Germany in general evocate ambivalent feelings, both the past and the future..

GM: I live in east Berlin (Friedrichshain) and it feels good, I like it here. Somehow it seems like a small village, but that's maybe the case with every capital you might live in: that it doesn't feel that big anymore, once you are part of the neighborhood. It's obvious that this air of excitement about Berlin feeds itself. The more excited people willing to do something exciting are coming here, the more attractive the city gets. Which is quite nice, there are a lot of concerts, compared to other cities. Artists and others also move here for practical reasons - when you travel a lot, it's good to know that you are living in a relatively cheap place. Almost everyone has friends here, because the people who live here come from many directions. And so on.

SA: A real "mitteleuropean" city, and a community.. Can you mention any of these special "neighbors"?

GM: I can only talk about the music scene here and I can't say that it's a big community. But it's true that it's an international mix of people. Personally I know just a few, like Kim Hiorthoy or Jason Forrest.

SA: Do you live of your music?

GM: No, I don't. Most of my income I make as music publisher and publicist.

SA: What are the records that have more influenced you, or have signed significant changes, or moment, in your life?

GM: It's impossible for me to name records, as it were a lot which influenced me. Actually I believe that the strongest influences came by music that I don't really like - a more indirect, unconscious way of being influenced by something else...

SA: Could you tell us five loving reason to live where you live?

GM: hmm.. I can give you some practical reasons, more then loving ones:
1. food is cheap
2. rents are cheap
3. a lot of concerts
4. enough space
5. the Falafel booth round my corner...

SA: In some way, I think the same; but it is a wide answer: do you mean that you are like an unaware "sponge" ?

GM: Somehow yes, it fit's in a way. Of course there's loads of music of which I am 100 percent aware and which I love, but I won't say that this is a big influence on my stuff. Perhaps it's more the other way around: I try not to sound like the music I like to listen to because the danger of just copying their style would be too big.

SA: About influences, records and stuffs like that: more simply, I would have the same problems if someone would ask me my favorite record or song and so on. Have you read “High Fidelity” by Nick Hornby?

GM: No, I haven't.

SA: In the novel, the characters, that work in a records shop, joke all the time asking top five play list, e.g. favorite songs of the day, of the month, or favorite sad songs and so on. Without write down the last super-list , what are the records that you are hearing in these days?

GM: The Thing, Garagem Nathan Michel, The Beast, Ilse Lau, Tosh Togs, Sufjan Stevens, Come on Feel the Illinoise, Takeo Tojama, Hello 80, Zimbabwe, Shona Mbira Music, Bs 2000, Simply Mortified Wevie Stonder, The Wooden Horse of Troy, The Books, Lost and Safe, Hossam Ramzy, Rhythms of the Nile Scratch Pet Land, Solo Soli Iiii, Vanishing Breed, Between Arrival and Departure..

SA: How could you define your music?

GM: As pattern-orientated, complex and light pop music.

SA: How many instruments or tools do you play?

GM: Errr, ok let me think: guitar, moog and juno synth, yamaha portasound, glockenspiel, bass, voice, percussion, banjo... it varies from now to then.

SA: What about your music-training?

GM: I had some singing lessons pretty late at the age of 23, all the rest (guitar, mainly) came autodidact, from listening to guitar music and trying to play "like them" and watching the fingers of guitarist friends..

SA: Do you improvise music with other musicians?

GM: in general yes, but right now I don't have an improv project.

SA: AutoQuestion please... GM: hey guido, could you tell our readers a thrilling story about what happend during your last mini tour this month?

GM: sure. It was absolutely exciting to see our car collapse in the middle of Rotterdam during rush hour. The guys from Worm (that's where Go:Gol and I where supposed to play that night) pulled us to the venue and I told the story to the audience. I did'nt even ask for help, but after the gig a guy came to me and oofer his help. He had a friend who is good in fixing cars. Actually this friend appeared the next morning and - guess what - he fixed this old volvo! This is a story about humans willing to help in really bad moments. Touching, is'nt it?

SA: what about your presence in different labels, and especially, what about your work in autopilot? we've realised that also mark richter, that is your publisher, published himself there.. could you tell us something more about this project?

GM: I work as a music publisher; autopilot is'nt a record label, but a publishing company. So I'm dealing with rights. Marc runs the dekorder label, which released my album dishoek. And I'm the publisher for his project black to comm. Is that understandable? To make it even more confusing: I also work as a PR person and the small agency is also called autopilot. So it's autopilot publishing and publicity. I also run a tiny hobby label called emphase, on which I released a series of 7inches and a bunch of CDs. I'm curious myself what will come next on emphase, perhaps some 7inches again - I love this format. My presence on different labels is not so - err - complex, I think. My first album klisten came out on Klangkrieg, a nice label from the neighbourhood which does'nt exist any more. But I have tracks on some compilations which came out a different labels.

SA: how do you join together the musician and the producer/promoter?

GM: hm. It just works. I mean, I'm not a professional musician, and if my dayjob would be baking bread, I'd have to bring together being a bakerman and a musician. I like to do different things simultanously, it prevents me from being bored.

SA: a word about collaborations. how do you manage all the people working with you around music, and into your records?

GM: I know quite a lot of people who also play music, so it's easy to ask them to play something for a recording. It's nice to have people around who can play drums, clarinet, trumpet and other instruments which I am not able to play myself. So this is not a big management task. I work as a music publicist for about 10 years now and you know how it is with networking: the amount of contacts just grows and grows. So that's how I manage to work for a lot of different clients.

SA: would you tell us how and why did you arrive to solo works? a brief history about your past bands, or something similar.

GM: I started playing the guitar at the age of 12 and I started playing in bands when I went to school. I used to be the singer in a cologne rockband called Krank. Later I started electronic side projects, one of them named "zwei tage sauerstoff". When I came to Berlin 8 years ago I met Jan Schläger and later Alexej Gottschau - we were blinker_inc, a kind of instrumental Post-Breakbeat-Outfit. My decision to do something on my own came pretty late - it must have been around 2000 or so. I discovered that using cubase isn't that difficult, so I just started recording. Before that time I worked on electronika always together with other people, who were able to use music programs. I used to be the ear, they were arms and hands. I learned a lot, so doing it myself was like a logical step.