Micro, Embassy, April 3, 1998
After more than 12 years behind the turntables, Micro has gained a reputation within the dance-music industry as the übermensch of the Long Island techno scene. It's been a long road for Micro, who spent his journeyman years spinning alongside fellow East Coast turntablists Frankie Bones and James Christian before forming the respected underground label Caffeine Records, as well as a weekly New York City club night of the same name.
Micro's signature sound is pure acid -- the tweaked-out, squelching electronic tones that serve as techno's backbone -- which he serves up with the requisite 4/4 beats and sped-up, syncopated breaks. His club DJing, as well as his production work with other techno visionaries such as Vicious Vic and John Debo, gives credence to the hip-hop and break- dance records he listened to during his formative years.
With a calendar of adolescent social activities that included attending Long Island parties where mobile DJs would spin classic acid-house tracks like Strafe's "Set It Off," the young Michael Marsicano was soon hooked on techno life and began coveting the tools of the trade. "The next thing you know, Mom bought me a little pair of turntables for Christmas," recalls Micro. A DJ was born.
His electronic musical heritage is represented on a continuous-mix recording for Moonshine Records, "Micro-Tech-Mix," that came out this year. It serves as a comprehensive introduction to Micro's sizzling style and features tracks by techno luminaries Deepsky, Hardfloor and Tenth Chapter. Micro had submitted about 30 tracks for consideration by the label. "They went out and licensed as many as they could. ... I mixed them up and there you have it," Micro says in a mellow, blasé tone.
In contrast to his demeanor, Micro's mixing is anything but dry. He pays plenty of attention to the club crowds who gather to dance and groove. As a DJ, he feels technical skill should always be there, and it's the audience interaction that sets him apart. "It's really all about the crowd. Different places, different venues, you'll run into different crowds. Ya got to kind of change it up a little."
Micro's future seems to lie in producing and remixing. His work is now familiar to Fox television viewers by way of his reworking of the "X-Files" theme. "That wasn't really a remix," Micro says of the recording. "If you read it, it says ‘enhanced.' It kind of sounded a little thin -- and we took and made it sound bigger."
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