“The final of the fifth spontaneous fest began just before 10 pm CET. On stage, the Superimpose duo celebrating their 15th anniversary - Matthias Müller (trombone) and Christian Marien (drums). The beating foot of the bass drum, the first murmurs of a trombone blasting in the cold air. A narrative built like a pyramid of cards, requiring great precision, but not subject to catastrophe. After 20-25 minutes, during the continuous improvisation, Marcelo Dos Reis (electric guitar) and Witold Oleszak (drums) joined the duo almost imperceptibly. The last two musicians entered the world of Superimpose as they had been part of it for fifteen years, if not longer. They brought an extra dose of their own sounds, almost metaphysically fragile but definitely immortal. A great concert, a gigantic culmination of three days of hard work, on both sides of the stage. "
Spontaneous Music Tribune
"Superimpose is a long-lasting duo of Mathias Müller on trombone and Christian Marien on drums and percussion. Slow thumping heartbeat at first in the bass drum and sucking noises in the trombone. This is a well-oiled machine imitating a machine. A flawed machine is letting off steam periodically, forming notes in the long run and even staccato notes, many firing away. The pulse kept going on and on. Two-thirds in, Witold Oleszak joins the duo on piano and Marcelo dos Reis on electric guitar, and the music gets a gamelan-like quality. Again, an excellent release. The four musicians have a great encore of seven minutes, almost like electronic music made in the fifties. Of the three, eleven is my favourite at the moment. [...] All these releases have in common is, I'll use the term again, outstanding musicianship. Each musician brings their background into the fold by creating music of this level on the spot. Whether in a trio formation or a bigger ensemble with electronics. Whatever your pick, you're in for quite a surprise. At least I did."
Vital Weekly
"Matthias Müller is a frequent guest at Spontaneous Music Festivals, and apparently in 2021 he was kind of resident, and participated in two performances, included in the Spontaneous Live Series. [...] The second disc is by Matthias' duo with Christian Marien, Superimpose. The provide the first 21 minutes of the collective improvisation, after which Witold and Marcelo join, enriching clearly the music. The whole 33 minutes long track is the masterpiece of lyrical free improvisation, which does not mean that there are no volcano eruptions in it. The short "two", again probably played for encore, is also beautiful, especially thanks for Witold's piano lines."
Maciej Lewenstein
"The main set, halfway through which the duo becomes a quartet! The first minutes of the concert, is a true mantra of minimalism. First, a lone foot on the bass drum - beats a steady, slow rhythm, filled with kilos of silence. The first breaths of the trombone follow after a minute and a half. Then the percussion adds a few more micro phrases. The narrative takes on air with time, or maybe it just lets it out with trombone vents. A moderate wind is blowing, gently sprinkling rain. After the 5-minute mark, the trombonist begins a more compact, partly drone-like exposition. The same goes for the drummer, who polishes the glaze of the snare ... with a styrofoam cube. After another three minutes, the artists stand in complete silence for a moment, then begin to build a new theme. Long exhalations, modest drumming, a puff of dust, the stomping of seagulls against an empty deck. The story, however, takes on a certain internal dynamic, now resembling a steam locomotive wheezing down the driveway. After another few minutes, the flow again seeks silence and moves into a phase of both-sided preparations - hydraulics, vulcanization, clouds of resonating sheet metal and metal. The narrative, however, climbs with reluctance - a bird has nested in the trombone's horn, mysterious objects squeak on the snare drum. Before the musicians reach their peak, they make a few more compulsive shouts that resemble an alarm siren, then enter full-blown narrative mode. At around the 20th minute, they delinquent into a phase of dramatic slowdown, which is surely already an attempt by the two musicians to prepare for the guests' visit to the stage. The guitarist and pianist enter the dry magma of the narrative and make a few tentative sounds. The guitar strums, sends a handful of flageolets, the piano counts the strings, and the show's hosts breathe deeply and rustle. After the 25th minute is struck, all four get to work! The pianist tugs at the strings but doesn't forget the keyboard, the guitarist prepares but also craves a base for the development of a more linear story, the trombonist looks out for melody and seems to be at a delicate crossroads, while the percussionist prepares and, following the guitarist, looks for a foundation for a more rhythmic story. When the trombone finally decides to move more energetically, the improvisation immediately gets a boost. The musicians dynamize their actions, but don't go over the top. Everyone now adds a grain of gold from himself, and the whole thing falls effectively into polyrhythm. Chants, sighs, meta-dynamic weaves of events reach a narrative inflection point, then fade into silence in a particularly effective way.
And then encore! To begin with, a plethora of fine keyboard phrases that flow in a rather dull stream. The guitarist scrubs the strings, the percussionist looms, and the trombonist, after a moment's hesitation, bursts into laughter and picks up his colleagues to fly. The story thickens in a split second, drawing broken, angular bohomas of expression. Then it forms into a dance formation and even before the sixth minute is up, with a clever scalpel cut, it falls right into a storm of applause."
Andrzej Nowak
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