Fred und Luna is the project / creation that hides behind the person who has us here today …
We are talking about the musician and producer Rainer Buchmüller. One of those interesting profiles from a huge discography on labels like Innervisions, Compost Label or Fabric under alias Fred Und Luna. But he also owns other interesting works under the nickname Fred Und Luna. Last year around this time we did an interview with him on the occasion of his new work entitled Im Weltenraum as Fred und Luna and now (a year later), we bring it to light so that they can enjoy it just as we did.
Rainer, when did you first get into electronic music?
The love for electronic music started in my teenage years in the early and mid 1970s. Gershon Kingsley’s “Popcorn”, Kraftwerk’s “Autobahn”, “Morgenspaziergang”, “Kometenmelodie 2” and Jean Michel Jarre’s „Oxygene, Pt. 4“ had a strong impact on my musical taste. And they still have. Later I discovered Kraftwerk’s most impressive “Ralf und Florian” album and other German bands like Can, Cluster, Harmonia and Michael Rother.
When and why did you decide to compose and produce your own music?
That happened around 1984. I had already played keyboards in local bands before, mostly doing cover songs. Then one day my favourite record dealer introduced me to the Cleaners from Venus’ album “Under Wartime Conditions”, which was, quoting the album’s liner notes, “recorded in a bedroom on a Teac 144” using, among other instruments, an S.R. 88 drum machine, a stylophone, sleighbells and a saucepan. I was immediately fascinated by this idea and by the music, and for I could only afford that kind of lo-fi equipment, I bought a Tascam Porta One Four-Track Cassette recorder, a cheap drum computer, a Yamaha DX 100 and a simple microphone. “Now go out and do it yourselves. This is Pop. Yeah! Yeah! Yeah!” are the closing notes on the Cleaners’ album. That’s how it started.
So would you consider your songs to be programmed music or handmade music?
Mainly programmed. My playing skills initially had been reduced, that’s why after my four-track period I bought an Atari 1040 ST and some software. They helped me being creative and compensate my disabilities. Meanwhile, especially after starting to do live shows, this has changed a bit. I am practising and noodling around from time to time. Nevertheless I am not interested to become a qualified skilled musician. It’s time-consuming and non-creative. Simplicity and minimalism are king.
Could you recommend any minimal records with that certain kind of charm?
Hans-Joachim Roedelius has done a lot of charming and enchanting albums: “Selbstportrait 1”, “Wenn der Südwind weht”, “Jardin au fou”, just to name a few. His works with Cluster, first of all “Zuckerzeit” and “Sowiesoso”, and with Harmonia. Also worth checking out are the works of Brian Eno and my all-time favourite composer Erik Satie.
Let’s go back to your own music. What can you tell us about your latest releases?
In July 2020 my kinda spacey third album “Im Weltenraum” was released on Compost Records, Munich. Followed by two 7inch singles under the name of “Stahlschrank”, an elektrodadaistic project with Künstler Treu (UFO Hawaii) from Berlin. In August 2021 an EP called “Fred und Luna – Im Remix” will also be released on Compost. It contains mixes by Peter Kruder, Mathew Jonson, In Flagranti, Dodi Palese and Mennert meets StriCt. I am very proud and feel honoured about this.
Finally, what can you tell us about your future projects?
Currently I am composing a lot. Eight songs a week, influenced by every-day life and changing moods in my new hometown Frankfurt. Together with quite a few hitherto unreleased songs I am planning to release them piece by piece, preferably on vinyl, and bring them on stage after a long time of privations. Some of the music you can hear on my Elektrokraut vs. Krautelektro series on Mixcloud. Please enjoy!