Johannes Anders in the Basler Zeitung, june 26th 1984
“….which caused a sensation at the last
Willisau-Jazzfestival : the "Trio Infernal"
...“
Zofinger Tagblatt in may 1987
“Of particular interest is the stylistic independence.”
PR - flyer 1988 by ‘World Music Messenger Service’
about `Überfall’ ... in alle Ewigkeit
“The best new progressive Band in Switzerland,
a touch of jazzy Vander Graaf Generator, but highly
original. Great LP!”
Christian Fink in the Basler Zeitung, december 19th
1989
“ÜBERFALL's sound is not lined up in formation
with the imbecilic entertainment industry. The sound
is individual, not easily labelled …”
Piero Onori in `Basler Magazin', Nr.14, april 6th
1991
"Concerned about the turbulenzes so essential in
the music's flow "
".. already from his exterior strongly evoking Bacchus
in a blend with an angry ZEUS it's easy to call Markus
Stauss a music scientist working parallel in line with
the newest scientific endeavours in chaos research (the
pure opposite of what is called a musical scatterbrain)
…
Christian Fink: "Zwei Trios - ein sound"
in `Die Wochenzeitung für das Dreiland', april
19th 1992
"There is probably no other musician in Basle who
stylistically is engaged in so branched out ways than
is Stauss: chamber music, rock, hard rock, funk, noise,
modern jazz, free jazz an even new contemporary music."
Chrigel Fisch: "Buddha Staussens Weltreumchaos"
in `Basellandschaftliche Zeitung' at november 20th 1993
"…Stauss is capable to tell stories with his
instrument which so unexpectedly take turns, that they
become real."
"…but there'll never be a big public for this
music; for that it asks too many uncomfortable questions…"
Niklas Wilson in the Basler Zeitung at july 12th
1994
„Stauss' large, smeared, again and again head
over heals ecstatic flagellating tenor sound derives
from Albert Ayler, with a good pinch of Rock toughness
mingled in.”
Dave McElfresh in `Cadence', New York, 06.1996, p.117
"… Stauss is a fine sandpaper saxophonist
(Europe consistently produces the best ones) …
hey, everybody's born with a temperament, and better
to have a perennially abrasive voice than an indistinct
or undeveloped one."
`Swiss music info', december 96 about `Ulterior Lux'
Evergreen
"Chaine’s near limitless spectrum of variations
and Stauss' melodious compositions and virtuoso saxophone
play – all that put together results in a masterpiece
of progressive music: fascinating breaks and speed changes
are melting these ideas into mature compositions.”
Martin Stohler: “Musik für besondere Tage”
in ‘Sektor Erziehung’ 1999
„...he created works, which are not easy in access
... It's music for those days, where one is ready to
open the door to a room not entered ever before”
ZNR, progressive music 03 about `Ulterior Lux' Adventures
http://www.znrcds.com/index.htm
“This takes "jazz" in a refreshingly
new direction and is one of the most satisfying progressive
jazz recordings to come into ZNR in many a month.”
Volkmar Mantei, october 03, about `Spaltkang’,
Alpenglühen
http://www.ragazzi-music.de
„Nicht nur, dass die rein instrumentalen Stücke
komplex und radikal sind, häufig brechen die melodischen
und rhythmischen Muster recht frei auf und entfalten
Improvisationen, in denen das Saxophon alles gibt, ...
ein großes Arsenal ungewöhnlicher und virtuoser
Klangfarben abfeuert.”
ProGGnosis - Progressive Rock & Fusion, by Maya,
Published on: 18 Oct 03 about `Ulterior Lux' Adventures
http://www.proggnosis.com/Main.asp
“Ulterior Lux is the band of sax 'monster' -
Markus Stauss. … I would recommend a very carefull
listening because structures and themes are way more
complex as they seem. ”
