Hagen Bretschneider (idea, sound concept, bass) has always focussed on instrumental
compositions. He has concentrated on his own material, producing the first album
“Dead Cat on a Railroad Track” together with Lennart Hüper (rhythm guitar) and
Gustav Hüper (drum machine) in 2013. This work was a production using only guitars,
bass and drum machine. Following their success they decided to develop their music
together resulting in “Lunatic Asylum” released in 2015. Hagen and Lennart were joined
by Nico Walser, who produced Lunatic Asylum as well as playing lead guitar and
synthesizers. This collaboration blossomed further on their third album “Wrong Planet”
featuring producer and guest musician Nico Walser again. Over the years the germanbased Electric Mud transformed from a live-trio into a studio project.
So longtime studiocontributor Nico Walser added some of his sound alchemy to the music. Non of the instrumentals stay in one genre for long, moving from krautrock to ambiant, from post rock to traditional prog, from edgy to contemplative. Imagine Deep Purple and Camel jammed together with Pink Floyd and Tangerine Dream – and you’ll hear the pure audio-magic of the 2018 album “The Deconstruction of Light”. “Quiet Days on Earth“, the latest album, is also rooted in the classic prog era of the 70s but takes a step forward into the great unknown of instrumental territory sublimely combining styles like post-rock with neoclassical elements and Berlin school.
The goal in mind is to offer a varied, fresh sound,a surprising genre mix and a strong emotional impresssion. And to honor our heroes: We are standing on the shoulders of giants!
Quiet Days on Earth
Rooted in the classic prog era of the 70s the studioproject-duo Electric Mud takes a step forward into the great unknown of instrumental territory sublimely. Dreamy melodies and atmospheric features characterize the structure of the tracks, where intertwining of acoustic and electric guitars is added to pleasant and soft layers of keyboards and orchestrations. We go from softer songs with sweet piano melodies to darker ones, almost dark to more baroque inserts and close to the Prog sounds of the ’70s, passing through other more orchestral and pompous moments. The electric guitar inserts are reminiscent of the Floydian sounds, taking inspiration from the effects and technique used by David Gilmour. In addition, the references and influences of the Berlin School and of German Cosmic music in general are noted, with openings and hints of electronic music by groups such as Tangerine Dream, revisited with a personal touch and style. A recommended listening for all lovers of unconventional Progressive sounds, of Krautrock music with Cosmic and electronic veins, as well as Neo-Prog, with sweet and other darker shades that mix together giving life to a smooth, atmospheric and pleasant album. Take a break with a movie for your ears.
The Deconstruction of Light
After the release of former albums, mud-mastermind Hagen Bretschneider received miscellaneous soundfiles from people all over the world, who played guitar or sang vocals along to Electric Mud tracks. The idea was born to reinvent some pieces and contribute more instrumental parts for the new album. Rather recomposing than remixing. Over the years the german-based Electric Mud transformed from a live-trio into a studio project. So longtime studio-contributor Nico Walser added some of his sound alchemy to the music. The heavy guitar driven riff is a major part of many tracks, but there is still plenty of space for soft passages and panoramic atmospheres. Non of the instrumentals stay in one genre for long, moving from krautrock to ambiant, from post rock to traditional prog, from edgy to contemplative. Imagine Deep Purple and Camel jammed together with Pink Floyd and Tangerine Dream – and you’ll hear the pure audio-magic of the album “The Deconstruction of Light”.
Hagen Bretschneider (idea, sound concept, bass) and Lennart Hüper (rhythm guitar) have always focussed on instrumental compositions. They have concentrated on their own material, producing their first album “Dead Cat on a Railroad Track” in 2013. This work was a production using only guitars, bass and drum machine. Following their success they decided to develop their music together resulting in “Lunatic Asylum” released in 2015. Hagen and Lennart were joined by Nico Walser, who produced Lunatic Asylum as well as playing lead guitar and synthesizers. This collaboration blossomed further on their third album “Wrong Planet” featuring producer and guest musician Nico Walser again. The compositions on the first album were largely rooted in blues rock, however on Wrong Planet their music can sound like Sabbath or Zeppelin from the 70s but they combine these licks with dynamic patches from the drum machine of the 80s. The Hannover duo’s style is steeped in ambiant music interspersed with melodic guitar riffs. These arrangements are sometimes inspired by the Icelandic band Sigur Ros, especially by their use of a violin bow played on the guitar, and the guitar solos would not sound out of place on a Camel or Pink Floyd album.
“Post-progressive” is rock music which distinguishes itself from the persistent style of 1970s prog, seeking a return to the genre’s original principles. The “post” is meant to acknowledge the development of other forms of avant-garde and popular music since the mid 1970s; it does not reference “postmodernism”. Purveyors explicitly embrace new computer technologies and sounds. Some post-progressive bands still draw upon selective aspects of vintage prog, even as they actively seek to distance themselves from the style.
In the opinion of King Crimson’s Robert Fripp, progressive music was an attitude, not a style. He believed that genuinely “progressive” music pushes stylistic and conceptual boundaries outwards through the appropriation of procedures from classical music or jazz, and that once “progressive rock” ceased to cover new ground – becoming a set of conventions to be repeated and imitated – the genre’s premise had ceased to be “progressive”. According to Paul Hegarty and Martin Halliwell, post-progressive did not directly derive from psychedelia, folk, and jazz as prog rock did, instead citing “explicit reference points of post-progressive music” lying within ambient, folk rock, forms of jazz, krautrock, the minimalism of New York art rock, and electronic music.
Academic Kevin Holm-Hudson argues that “progressive rock is a style far more diverse than what is heard from its mainstream groups and what is implied by unsympathetic critics … one may wonder where progressive rock ‘ends’ and becomes psychedelia, free jazz, experimental art music, or heavy metal. He categorizes post-progressive as a subgenre of progressive rock, whereas post-rock is a subgenre of alternative rock. Nosound’s Giancarlo Erra believes that “post-prog”— deployed by the label Kscope—denotes a mixture of progressive rock and post-rock. Hegarty and Halliwell note: “Post-progressive identifies progressive rock that stems from sources other than progressive rock.
“Without deviation from the norm, progress is not possible.” ― Frank Zappa
Post-Rock is a form of experimental rock characterized by use of rock instruments primarily to explore textures and timbre rather than traditional song structure, chords or riffs. Post-rock artists typically unify rock instrumentation with electronics and are often instrumental. Elements may be borrowed from genres such as ambient music, krautrock, psychedelia, prog rock, space rock and minimalist classical. Post-rock groups generally make greater use of soundscapes.
The goal, in our view, is to find a fresh variation, a surprising genre mix, an interesting sound and a strong emotional impression. And to honor our heroes. We are standing on the shoulders of giants!
electric mud links:
official website: http s ://electricmud.jimdo.com
The volcano has been bubbling for 30 years, now it has erupted. A powerful outburst of poetry, which demands all sorts of things from the reader who engages in the 208 pages of concentrated word eruptions. Conventional attempts at reading fail in view of the merciless intensity of Bretschneider’s cascades of words and images, his flood of poetry, which almost swamps the reader, in which the author threatens to drown him. Bretschneider draws on collage techniques of the Dadaists on the one hand, and on the other hand with the American “cutup” technique developed by William S. Burroughs, which tears up existing text offerings according to certain rules in order to assemble them more or less by chance into new hyper-texts. This creates a new narrative structure without a real, linear plot. Internalized automatisms of the reader’s conventional textual conceptions run into the void.
At Bretschneider, readers come across the “minefields of the urban soul”. The Springer lyricist refuses traditional forms of poetry, does not go in search of the perfect sentence, the artistic sense, the appropriate metaphor, but is showered with an expressive-depressive outburst of his consciousness situation. It is the “infarction finale after the fun terror”, the “world of never”, in which the past never ends and the future never begins, in which “all paths lead into the absurd”. At the end of the thunderstorm of words, “slow ending, no escape, a vortex, a suction”. Bretschneider’s perception is subjective and provocative, in no way something for weak minds or bourgeois literary aesthetes. Bretschneider digs very deep and, with his End-Time associations, ignites a lyrical conflagration, an Old Testament inferno – relentless, consistent, hopeless. The book is highly recommended to the reader, but at the same time he must be warned against it. Those who go into the Bretschneider word wilderness can disappear into it.
Cutups create new connections between images, so that our imagination expands accordingly. Through the random selection of the text material, the social pre-embossing of the language is undermined. This exposes other, unimagined areas of consciousness. The author steps out of his psychological identity through this method. The door is opened to chance, the improbable will gain access to the design. The Indivisible is divided and cut. An attempt is made to create a situation in which one can operate free of internal and external manipulations, a situation that is not determined by a previous plan. Without an idea, but with a certain mood, in a certain writing or consciousness situation, one sits down at the desk. The first step is to search for a suitable set that triggers a scene in the head. Adding and integrating additional elements results in a further storyline with often unexpected and unlikely twists. This is not the plot of a story. This does not mean “good” poetry, the perfect word in the perfect line. It is about linguistic lines, not about building a conventional, narrative dramaturgy. In terms of content, it is not a question of putting what has experienced on paper, but rather the design of spaces, of pictorial spaces…..
One of the best pages I had the privilege of watching, both in content, quality, collection, organization and of course the sound executed with an indisputable technique and constant creativity in his works, I thank you for the exclusivity of the material sent Hagen, brightened my website. they are: “Beaded heads; : Canary in a chair; Aurora moon; New Horizons; Wrong planet; Rabbit hole; Disconnect “only praise for Hagen and Nico.