Geiger von Müller

Geiger von Müller’s latest album ‘Neocubist Blues’ is out now and he kindly chatted to us:

 

What is your earliest musical memory?

Hm, Never thought about that. Probably my grandparents listening to traditional music in the kitchen on a pocket radio, or something similar.

 

When did you begin songwriting?

I played cover songs in bands. For a while it seemed difficult to come up with a good enough song that matched those. So there was a delay. But eventually you had to realise that it’s OK to start playing your own beginner songs, even if they’re not half as good as Hendrix.

 

You have your new album ‘Neocubist Blues’ out now. How did you want to approach the making of the album?

Well, it has lots of short tunes in the 1-min range. Eleven out of sixteen. It would be interesting to do an album of 1-min tunes exclusively; not as easy as it may sound… In any case, I approached the album with creating a framework that would hold these snappy tunes and the longer ones together kind of cohesively.

 

Where did you record the album and who produced it?

I used various home studios in London for recording and sent the material over to HLStudio in Budapest for remote mixing and mastering. Most of the production aspect rests with me but I don’t really call it ‘producing’. Just a natural process.

Do you have any interesting, funny or memorable stories from the recording sessions?

People often think, it’s just about jamming, having a good time, sitting on a sofa with your guitar in front of a mic and pressing a button to record it. Well, far from it. So many things can go wrong in an acoustic session. And even when everything is fine, it can happen that a military helicopter overhead ruins a superb take…come to think of it, I’d say, much of the interesting and memorable episodes in a rec session won’t exactly be “funny”…

Did you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?

Thanks for asking, important point…I think I’d better mention that I don’t use enhanced guitars. I come across such opinions but i have to say, I use a standard six string acoustic. Also, there are no overdubs, especially not with a toy piano, again, just to clarify….haha… Also, I learnt the other day, AI was claiming I used open tuning, which I don’t either. Most of my stuff is in standard tuning, with drop-D being the only variation. Except, on the new album I introduced Drop-D-flat for three short tunes. But the normal-length tunes are in standard, except one in drop-D. Anyway, I asked that specific AI service to remember I didn’t use open tuning. Wonder if it will.

 

Which of your new album tracks hear you at your a) happiest, b) angriest and c) most reflective?

Hm, difficult questions, never thought about it this way. You see, for me these tunes represent quite the same thing. Even if they are quite different, some are loud, some quiet, some chilled, some more punk, some improvised, some pre-written, and anything in between. But technically I’m only happy when there’s a good take, and only despairing when it’s crap – but that could be any of the tunes, it’s random. Also, for me, they’re all equally reflective I think.

 

Does the album’s title have a specific meaning/significance?

Haha! Spot on. With that sort of title, how could it not? Neocubist Blues, surely. But there’s no strict agenda behind it. So I’d rather just leave it to people to interpret it in their own ways.

 

Was it a difficult album to write?

No, it’s always a pleasure to write music!

 

Who designed the album artwork?

The art direction was in the hands of my acquaintance, Red Ey.

 

One of the tracks is ‘Bottleneck Blue’. What was the story/inspiration behind the track?

It’s a relatively older tune. There’s this cool cobalt blue porcelain slide I use sometimes. That’s where the title came from. Only later did I realize from my prep notes that it wasn’t actually recorded with that particular blue bottleneck. But the title stuck. Anyhow, it’s an older one, originally I thought it wasn’t a great tune. But when I played it live people liked it quite a bit. So then eventually I recorded it. And now it’s one of the fav tracks from the album on independent radio shows. Pretty surprising. It’s one of those “how wrong can you be” moments. I think Jon Lord said once that they considered Smoke On The Water a filler on the album.

 

Where is your hometown and could you please describe it in five words?

Well, my current “hometown” is The Big Smoke in Old Blighty. I don’t think five words can describe it…haha!

Do you have any live dates planned in the UK/Europe in 2026?

Not at the moment.

 

What two things do you hope to have achieved once you have left the stage?

On one hand, there are so many things to achieve on-stage, once you break it down to elements of a performance. It’s an infinite matrix. On the other, it boils down to perhaps just one element, sort of a supernatural element. And exactly due to the supernatural nature of it, it’s difficult to verbalize. It’s something bigger than human intelligence and therefore it’s a reminder of humbleness. Same kind of humbleness as with the the vast ocean versus the sailors’ ship.

 

Do you have any favoured stage instruments, effects, pedals, microphones etc?

I have an ax I’ve always gravitated towards as a stage instrument. Not a conscious fave choice, just kind of a a gravitation.

You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?

Possibly something by Kurt Vonnegut. ‘Bluebeard’, I guess. Its abstract expressionism would go well with my Neocubist experimentations.

 

Who are some of your musical influences? Do you have any recommendations?

I listen to a wide range of styles. I’d still say, the vast majority would be music played on live instruments, none too electronic. That said, I do relish some synth space music. As for recommendations, I’d alert people not to forget about founding fathers such as Mississippi John Hurt. His old hut was turned into a memorial center, which was inducted into the official list of USA national heritage sites the other day. On the same day, some neo-KKK arsonists scorched it to the ground. Nothing left of the old cabin and the exhibits. His original 13 recordings from the 1930s are pristine music, top league, and pristine sound as well for 1930 – amazing. Let’s keep his legacy unforgotten!

 

What makes Geiger von Müller happy and what makes you unhappy?

Well, we already talked about AI. It’s a most burning issue and it kind of makes you unhappy, at this point, doesn’t it? I don’t think it should have much room in music but currently there’s nothing to stop it. Social media started similarly. It could have gone the right way but instead it got out of hand, distorted into this omnipresent, brain-rotting monster. Let’s hope AI will get a course correction and still go the right way. Either way, there will always be great music and art, past and present. And that will always keep people like me happy.

 

Feature Image Photo Credit: Red Ey

Geiger von Müller’s latest album ‘Neocubist Blues’ is out now.

Bandcamp: https://geigervon.bandcamp.com/

Official Website: https://geigervonmuller.com/