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mikro interview mikro interview
A NorthWest
Transmission:
Mikrosopht
I've known Mikro for a good while now. We met in 2003 and within a half hour we bonded on some music nerd level that is hard to explain.  The great bulk of people, even in "experimental"  circles, seem to like one or two, maybe three genres of music and live out their days cycling through those worlds. And fair enough, there must be a ton of artists for any category with a name.  However, that never happened to me.  I remember going to hardcore matinee in CBGB's glory days, then working promotions for house and hip-hop clubs overnight. Riding home with Stretch Armstrong and Bobitto on the radio, and not turning it off when Daybreak Express, a heavy jazz program, came on afterward.
Saying all this to say...whatever random alleyway of music I find myself walking down, Mikro has usually been there too, banging on cans...
Here's a bit of history, mystery and musique with Mikrosopht.
Boomboxr: You're new recording, Weird_Colors was an evocative listen for me. You have a  broad batch of work stylistically at this point, yet the way you were using soundbites / samples felt a bit different than usual ( there being no usual ).
Mikrosopht: As i see it, Weird_Colors falls under several different categories of sound, but i only listed one on bandcamp (the general "experimental")in order to keep the page there simple, & somewhat hidden from other keywords that could lead to some potential legal ramifications(however unlikely that may be).  This is a central theme of most of my musical projects over the years: try to see what you can do sonically without restricting yourself legally. The reason why i am so committed to this ethos is that's how i got started - and that was before i even began to consider the legality of my sound situation(s). Because of this origin of wave editing as composition a wide variety of output and responses has occurred.
The technique was inspired by the strange timings heard in things like musique concrete. i was definitely going for something different, leaving a lot of signatures behind (time & style, at least).
Boomboxr: Ok, speaking of origins, I'd also like to riff on your earliest days, how you came to music-on-machines / sound generation via computers .Were video games a lead in? Were you a radio kid?
Mikrosopht: i grew up in a suburban town in the Rogue Valley of southern Oregon. There was one good record shop really, & this was where i picked up Peanut Butter Wolf's My Vinyl Weighs a Ton (some of the best hip-hop i'd come across). i was interested in electronic music largely because of what had been getting through on the radio: breakbeat, so at first i thought of myself as a similar artist. i didn't really know i was dabbling in more experimental terrain, or that there was a world of music out there waiting for me to discover it. i did happen across a couple compilation discs: "nothing changes" featuring autechre, squarepusher, meat beat manifesto, plug, plaid. And a Merge magazine standout track from Matmos. These began to open my eyes to what was actually going on out in the world beyond rigid commercial channels.
Boomboxr: During those early days, did you find yourself seeking out music of the type you were experimenting with? When did hip-hop, the avant garde or experimental enter the picture? Did anyone in your immediate surroundings have a similar taste in music that got you open on doing / learning more?
In high school i had a friend who was a gifted programmer as well as a bassist, and he showed me some wave editor & multitracking tools. The first track i wrote had his bass line running through it. His dad had a computer company downtown where i would go in the off hours to write tracks on their quality machines. It got to the point where i was crawling in through a door vent to get to the machines just to write music. About then i decided i'd better start working there to make things a bit more official, so i learned how to program web pages & got my own key to the office.  i discovered the avant garde while researching the history of electronic music. The bass playing friend is a dead head.
Boomboxr: lol, that story is great..I'm really interested in that moment for creatives, when the catalyst kicks in and they realize that whatever it is they are doing is more than just a hobby or past time. Particularly with sound being an invisible art form - even moreso when it's being created electronically, dealing with the raw material of sound to make a new thing.
Listening to the new work as I write: Return reminded me of Hot sex on a Platter by ATCQ, looped so tight it kicks its own ass when running..Untitled 7 is a genre unto itself, Trek House? Untitled 8 is a Terence Malick film....
Mikrosopht: Trek house sounds good to me. Big fan of Terence Malick, so taking that as a huge compliment.
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