Press comments on Didge’s Brew and Marc Miethe’s projects
“… For example, what Berlin-based didgeridoo player Marc Miethe has elicited from his instrument has been baffling listeners to his concerts for some twenty years. With the Live Looper, he considerably expands his possibilities, making himself a one-man band. Almost in the nature of things, looping is about producing rhythmic, danceable tracks that are based on short repetitive sequences, sounds boring at first, but a long way from the rhythmic “carpet” gives the musician space to improvise, as he would never have it without the Looper. So also the alleged background instrument didgeridoo becomes at once highly solo-able, how you can see and hear here. ” Spiegel.de, Frank Patalong, 01/2013
“Marc Miethe belongs to the stars of the scene … With his instrument he fills discos, makes people dance because he goes away from the meditative monotony and instead incorporates breakbeats and mouthpercussion into his sound. … Spectators cheer with enthusiasm.” Augsburger Allgemeine, 10/09
“… Didges Brew play brilliantly …” Morgenpost, Jan. 05
“… a special delicacy …” Wiesbadener Tagblatt, 07.08.2007
“… a true discovery: “Didges Brew” offer an absolutely convincing interpretation of the word “World Music”. Of course, “Didges” means the Australian didgeridoo, which plays not only band founder Marc Miethe with an intensity and a wealth of ideas that hard to match, but also Tayfun Schulzke – when he serves the percussions. There is no folklore in sight, and when drums, percussion, and samples are added, you know that the association with “Bitches Brew” by Miles Davis was one hundred percent correct: that is 21st century ethnic-jazz. “Didge’s Brew” creates a truly organic unity in a wide variety of musical styles, with the simple wood tube always setting the tone.” B. Baum, Dresdner Neueste Nachrichten, 03.10.2003
“In the evening there were still two real bangers. On the one hand Didges Brew, a Techno act with a Didge soloist who had had Didgeridoo with an extension similar to a trombone and could play tunes like that. … ” somamag.de
“Afterwards there was hot Ethno-Funk with the formation “Didges-Brew “Allgemeine Zeitung (Beate Schwenk), 07/2007
“… How versatile and expressive the didgeridoo can be played by Miethe in ever new sound dimensions. … Spectacular conversations between the filigree bass pickings and the frisky “Didge” relaxation. The two musicians challenge each other in their search for new soundscapes. And where they come, they will find it. … Insider Hit … inspired Miethe to happy “rap” didge – and the audience to dance. Such a concert did not exist in Hildesheim yet. If you are open to new soundscapes and enthusiastic joy of playing, you will be in good company with “Boobinga”. Breathing in between must not be forgotten.” Hildesheimer Allgemeine. – 26.11.2001 F. wax
“Music that you want to entrust yourself to completely … with their varied sound dimensions Boobinga give the music new impulses.” HNA Kassel – Kirsten Kleinbäumer, Feb. 2006
Miethe “sparked enthusiasm among the audience. Those who used to consider the didgeridoo, a traditional Australian aboriginal instrument, only suitable for meditation music, experienced an incredible range … Virtuoso, the variety of sound variations is demonstrated, the imagination of the visitors is stimulated. Also delicious is the interpretation of his experience as a call center agent. Miethe imitates a phone call. With all the subtleties of whispering to energetically challenging conversation, the sounds come out of the eucalyptus didgeridoo. … (He) proved that even on a plastic didgeridoo “out of the drainpipe family” he can produce an unlikely variety. … An atmospheric conclusion to a great concert.” Sigrid Leonhardt, Badische Zeitung 2002
“Didges Brew: As melodic as virtuous … Even connoisseurs of the instrument are regularly surprised what Didges Brew can do and what musical possibilities the didgeridoo offers, which are as humorous as they are virtuosic when they mix their breakbeats.” Tagesspiegel 08/2001
“With their mix of Arabic, Indian and Australian instruments (including sound traditions), Peshkar make a significant contribution to the world language of music.” Björn Döring, Zitty Berlin, 1999