REVIEW

African Paper

“The work illustrates Matthias Grübel’s adeptness and comfort to navigate and explore across the axes ofTechno, IDM and Elektro whilst bringing their point zero back to the beauty and vulnerability of the human condition. The intensity in his work grows with his own pleasure in experimenting, collaborating and occupying the zone of bringing forth creativity.”

REVIEWS

Igloo magazine

Back in May 2020 we described Matthias Grübel’s Matters Of Stability EP as “a multifaceted array of clinical techno strains and experimental electronic bits… often detailed with a myriad of microscopic elements that artists like Clark and Apparat have traversed.” Versions Of Stability now offers a few selected remixes from peers including Calika, Build Buildings, Liebherr as well as Autistici & Neuro… No Neuro collaborating also released on TruthTable—Audiobulb‘s analogue adventures sub-label.

Getting right into it, this is a baffling assortment and only four tracks with just enough of a sonic punctuation to cause a stir. Calika’s version of “Neon Primavera” is a highlight, its darkened downtempo bass and beats fusion of broken hip-hop elements is reminiscent of Einoma and Gescom’s earlier works—an organic and fluid assortment of rhythm and exploratory syncopation. Build Buildings’ remix of “Sad Dream #1” is a stuttering clicks’n cuts slab that offers microtonal notes and shuffling bits as Liebherr’s version of “Atlantika” is a heavily drenched post-techno slice that maintains a high-energy flow. Closing with Autistici & Neuro… No Neuro’s version of “Stars Under The Snow – For Every Pain A Neurone Fires,” there are subtle slivers of light that filter through its calm dronescape and mysterious glitch particles—a splendid retreat with lightened pitter-patter and an evolving stream of consciousness. Versions Of Stability is a byte-size morsel of electronics that spans across four distinct musical ranges and still holds together like a fine glue.

REVIEW

Poule d’Or

Berlin’s Matthias Grübel is a composer for theatre productions by day, and his talents for dramatic story telling shows in Atlantika, his latest single, that comes crashing down on you like a roller coaster in slow motion. Through thick layers of synth and noise, Atlantika opens up an abyss and takes you right onto cliff’s edge, leaving you wishing you were an apnoe diver.

He hasn’t released anything in the past five years and this atmospheric crooner marks the first piece of his upcoming new EP to be released on Sheffield’s infamous TruthTable.

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REVIEWS

Chain D.L.K.

Matters Of Stability is a sharp 24-minute electronica EP that can’t quite seem to decide which way it’s going, and feels like it’s trying to pack an album’s worth of ideas into too small a space. At times, such as when “Neon Primavera” properly gets into its groove, it’s an alternative take on a progressive house or a light techno. Yet there’s a lot more going on besides- particularly a strong emphasis on glitchiness, lo-fi filters, EQ drops, retriggers and playfulness, full of the kind of surprises that entertain the passive listener whilst clearing the dance floor. There’s also a smattering of other acoustic instrumentation, handled with a deft touch. “Neon Primavera” shows a shade of James Holden eventually, after a long intro. “Atlantika” has a slightly harder techno vibe, before “Electric Goodbye” slows things down to a slightly grime-like swagger complete with pitched-down indistinct vocalisations. Each of these pulls the established trick of holding one of its layers back until almost the end of the track, to keep surprises in the pocket and keep things moving- a guitar riff in the former, an industrial mid-tone in the latter. The last two tracks feel like they belong on a different release, almost. “Stars Under The Snow” adds in a live cello sound onto a deeply atmospheric and emotive melody that leaves the more driving rhythms well behind, before “Sad Dream #1” goes a step further and throws in a vocal from Joss Loner and a poppier, almost cinematic vibe. Instead of being a criticism, the quality and controlled energy of the production turn this

EP’s ambitious scope into a virtue. Though built with familiar ingredients it’s a fresh- sounding and to some extent genre-spanning bit of electronica that certainly draws in the ear.

Igloo magazine

From Berlin, Matthias Grübel is a composer soundtracking theatre productions—his solo project, this time with TruthTable, is a multifaceted array of clinical techno strains and experimental electronic bits featured on Matters Of Stability. Creating upbeat, and sometimes vocalized tracks, this EP comes across as expressive and often detailed with a myriad of microscopic elements that artists like Clark and Apparat have traversed. Instrumental and digital trips through the back corridors of textured techno, these tracks segue to and from each other, tethered by some kind of mechanical backbone Matters Of Stability ultimately breathes life into IDM’s exploratory range focused on synthesizer mechanics and tangible melodies drifting in the upper layers. If “Electric Goodbye” doesn’t give you goosebumps, please check your pulse.

The Moderns

“The texture of a Burial EP combined with the majesty of a Vangelis long player – somehow also unique.”

The Further

Berlin-based artist Matthias Grübel blessed the music industry with his latest single entitled “Sad Dream”. Written and performed by himself, sang by Joss Loner, the song is nothing but an exceptional moment of music. 

“Sad Dream” is a hybrid between electronic music and sound experimentation. A free and unique structure, no rules except creativity. 

Definitely the kind of music that you won’t find anywhere else.

Groove

Der Berliner Matthias Grübel, den man eher als Phon°noir kennt, ist ebenfalls Experte für Soundtracks, vor allem für das hiesige Theater. Auf Matters Of Stability (TruthTable) bringt er allerdings die Autoren-Electronica zurück in den Big Room, als Mainfloor-Electro-Techno, der dann wieder ziemlich Moderat klingt – oder in den verstreuten Vocal-Tracks sogar deutlich nach Apparat –, mit vergleichbar durchschlagskräftiger Produktion und ähnlichem Hit-Anspruch.