Blue by M. Schillings - Recorded in February 1991

Guitar: Michael Schillings
Guitar: Dirk Homann
Bass: Arne Neumann
Drums: Daniel Höpfner (alias Eddy)

Blue - Brain Bone- February 1991

Me against me (Original Mix)

All kinds of ferromagnetic finds of the 90s from my demo cassette moth box

Allerlei ferromagnetische Fundstücke der 90er Jahre aus meiner Demokassetten-Mottenkiste

Weitere Details zum Line-Up offenbaren sich, indem die einzelnen Tracks angeklickt werden.

More details about the line-up are revealed by clicking on the individual tracks.

Stefan Muller: Jazz, Technology, and the Rebirth of Soul in Electronic Music

In an age of digital saturation and algorithm-driven sounds, few artists carry the torch
of authenticity like Stefan Muller. A producer with a self-fashioned sound that fuses jazz
sensibilities with electronic precision, Muller’s story is not just one of musical
exploration—but of personal reinvention. Rising from deeply personal loss, economic
constraint, and spiritual introspection, the German-born artist has carved a lane of his
own in the ever-diversifying world of contemporary electronic music.
“I want to send people on a musical journey,” he tells me, his voice as textured and
intentional as the layers in his tracks. “From Electronic Jazz to Jazzy House to Tech
House and finally Techno—but everything with a jazzy note.”
It’s more than a stylistic choice—it’s a mission.
The Birth of a Sound: A $30 Computer and a Lifetime of Music
Stefan Muller’s journey as an artist began not in a high-end studio or a prestigious
music academy but on a second-hand computer he bought for 30 euros. From that
humble beginning emerged the seeds of what would later become a prolific
discography. His breakthrough came with Melo (Original Mix), released on the Los
Angeles-based Mojo Headz Records. The single carried with it the raw, emotive DNA
that has since become his signature.
Following that debut, Muller released his first EP, Chesterfield EP, under Global Music
Records, eventually evolving into a full album, The Chesterfield Session. His
discography expanded with The Jazz Fiction Mixtape (Mojo Headz) and his second fulllength album Le Grande Mixtape (Global Music Records)—each a chapter in what Muller
describes as a “musical biography.”
But what gives his music its unshakable emotional core is not simply genre fusion. It’s
life itself.
A Grandfather’s Legacy and a Life Transformed
“After my grandfather died, I started producing my own music,” Muller reveals. “He was
my mentor in music—a Hammond organ player. He taught me to play the keyboard.”
That connection to jazz, gospel, and soul—deeply rooted in family tradition—shapes the
warmth and human touch behind even his most experimental pieces.
The death of his grandfather was a catalyst, awakening a musical fire that had been
quietly smoldering. Add to this the support of his father—who, as Muller puts it, “has
good ears and technical know-how”—and it’s easy to see that music, for Muller, is both
inheritance and innovation.
Music from the Heart, for the Soul
When asked about his creative process, Muller offers a metaphor that might as well be a
personal manifesto: “I capture moments and impressions of my life to put them into a
song or a complete album.”
His process is highly intuitive. It starts with a melody on the keyboard—often birthed
late at night when the world is quiet and he is most vulnerable—and unfolds organically.
“Then I put the vocals to it, and at last, drums and bass. I pack a package till the end.
That’s my workflow.”
Behind this process lies a heavy personal narrative. Muller, a father of three, speaks
openly about the emotional costs of his dedication to music. A recent divorce, fueled in
part by his work-life imbalance, continues to reverberate through his compositions.
“Music saved my life a few times,” he says, without drama but with sincere gravity.
Jazz, Protest, and Universal Rights
At the heart of Muller’s music lies a social conscience. He sees jazz not merely as a
genre but as a cultural force—one rooted in struggle, dignity, and freedom. “Jazz stands
for color and realness and all the things people like Martin Luther King and Nelson
Mandela fought for,” he says. “This fight is not over. We have to fight more until every
person in the world has the same rights and opportunities.”
It’s a powerful statement, especially in an industry often focused more on image than
integrity. Muller’s music, then, becomes not only a sonic experiment but a political and
emotional statement—a call for empathy in an increasingly disconnected world.
The Alchemy of Influence
Influenced by Afrobeat legends like Fela Kuti and reggae icon Bob Marley, Muller draws
from a deep well of rhythm and message. His music does not replicate their styles but
channels their revolutionary energy. Afrobeat’s hypnotic percussion and reggae’s
spiritual defiance find new form in his jazz-electronic hybridity.
He describes his sound as a “genre clash”—a deliberate disruption of traditional
boundaries. “There is no one who does this type of music,” he says with modest
certainty. “Music for dancing, listening, or the background—every song has its own
soul.”
Indeed, Muller’s compositions are versatile and cinematic. One track might belong in a
Berlin warehouse rave, the next in a smoky Parisian jazz bar, and another in the score of
a documentary on personal transformation. They all share a common thread: narrative.
The Making of ‘Prayer (Original Mix)’: Faith, Conflict, and Art
One of Muller’s most complex works is Prayer (Original Mix)—a track born from a
collaboration with the Protestant Church in Germany during discussions of a jazzinfluenced musical production. Though legal hurdles halted the project, the creative
spark it ignited stayed with Muller.
“Prayer is a very hopeful song,” he says. “I wasn’t sure who was guiding me that night,
but after a long night, it was ready in the morning.” Crafted in MIDI and layered with
hand-played piano, the song captures not just a mood but a moment of spiritual clarity.
Muller prefers the night for creation. “The world is very quiet then,” he says. “No one
can influence me. When the day passes through my brain, I can process it in the dark.”
Future Sounds and Timeless Dreams
What lies ahead for Muller? A global stage—both literally and figuratively.
“I want to play gigs in historical monuments,” he says. “With great acoustics—special
and unique places. I need a stage to tell my personal and musical story.”
Open-air shows are also on his radar, but not for the party atmosphere. For Muller, it’s
about reaching people where the environment itself enhances the story. These aren’t
just performances—they’re installations of experience.
With over 350 original mixes produced in just a few years, Muller’s output is staggering.
Yet quantity has never compromised quality. Each track carries with it a fingerprint—
introspective, unpredictable, and above all, sincere.
A Message to the World
As our conversation winds down, Muller leaves us with a message meant for fans,
skeptics, and anyone searching for meaning in a chaotic world: “I would like that people
forget the bad things for a few moments. Only the music—and me. That is the message.”
It’s a modest wish for an artist whose work is anything but.
Thank You!

New tracks tagged ##Progressive Jazz