THE SOUND OF YOUNG DÜSSELDORF
In the last years, Lucas Croon, Nikolai Szymanski and Martin Sonnensberger have created a cosmos of driving bass lines, danceable rhythms, floating pads and shimmering electric guitars. Using repetitive lyrics with double meanings, analogue synths and icy cold clackering computers, STABIL ELITE revive Krautrock and the avant-garde moments of the German New Wave.
They combine glamor and emotion and cosmic transcendence, which is well aware of its musical heritage, yet does not seem overly reflective for even a second. One can immediately hear where this stylish band comes from. Just think of that city on the Rhine, which has become a work of art in itself, and its electronic musical history, which has significantly influenced many styles, from hip-hop to techno.
SALON DES AMATEURS
STABIL ELITE could not escape the magic of their home, yet still somehow managed not to listen. Except in the local midnight haunt „Salon des Amateurs“, where back in their school days, Lucas Croon, Martin Sonnensberger and Nikolai Szymanski were seduced by music that was created far beyond the city limits and can be heard in no other club in the world. At „Salon des Amateurs“ the boundaries between serious music and popular music are blurred. You can dance to anything – whether Stockhausen, Sun Ra, Krautrock, Disco, Techno, Industrial, Afro, Funk or House is setting the groove. The three had plenty of movement on the dance floor of this notorious club-bar. Eventually they founded STABIL ELITE, when their own desire for a still unexplored pop hybrid grew too strong and had to become a reality. From the beginning, the instrumentation was without limits. Even now, on their cryptically titled first album „Douze Pouze“, in addition to bass, guitars, analogue synthesizers and drums, less obvious sound sources including wood, metal, sitar and xylophone have equal weight.
The twelve sometimes instrumental pieces on “Douze Pouze” have titles such as „Rave Maria“ or „Endecomputer“ – associative terms that often served as an impulse for their creation. „Hydravion“, for example, isn‘t called „Hydravion“ because STABIL ELITE are totally infatuated with seaplanes. Rather, they wanted to sonically associate the floating feeling they induce with a hydroplane. With almost all the pieces, there is a delicate melancholy that hangs as a symbol of sublime spirit and noble heart between, under and above the Krautrock, Disco, Ambient, Cosmic and Surf-Pop compositions. It is also the symbol of the last, brief summer, during which STABIL ELITE viewed their way through film history, journeyed through time with no fixed destination, dreamed of space travel, enjoyed good food, turned day into night and vice versa with wine. As captain, sometimes the head and sometimes the gut was at the helm, because those who write music with as much love of detail as theses three, must allow intuition enough space in order not to go astray.
There debut album “Douze Pouze” released in 2012 caused great excitement in the press. From underground fanzines to glossy fashion magazine and even in TV shows, the band was hailed as the grandchildren of Kraftwerk and denoted as pioneers of a new German Kraut scene. But enough words – they are incapable of describing their art. They dance the dance of youth. International, refreshing and totally fearless.
The first signal STABIL ELITE emitted to the world was in 2009, with the song „Hogan‘s Run“, which appeared on a compilation by the American label „Mathematics“. Their second musical offering, the insistently driving „Kaviar Express“, was released on a vinyl EP by the Chicago-based label. Next, their epic rhythmic journey „Krautkamerad“ appeared on a compilation EP by the Düsseldorf DIY label „Themes For Great Cities“, offering some cosmic swing to all those who live out their deepest emotions at night. A preliminary climax came in 2011 with the hit „Gold“, an anthem pressed in limited edition on gold vinyl, which was also the theme song of last year‘s C/O Pop Festival in Cologne. The refrain, which translates as „Everything I touch turns straight to gold“, has now proved to be prophetic, for the twelve pieces on „Douze Pouze“ glow brilliantly and defy their time. On some, Nicholas Szymanski sings his collage-like, German texts, whose meaning is only revealed when not looking for it: Melodic, scenic descriptions of abstract imagery, which embrace pop from an avantgarde perspective – more Dada than Gaga.