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Alka

Michael: I grew up with music. Both my parents played instruments and had extensive record collections. From those collections, I became enlightened to a myriad of Mellotrons, Moogs and machines, besides the obvious British invasion stuff. In the '80s, I gravitated towards New Wave and EBM—anything with a synthesizer, really. Eventually I discovered the genres of industrial, techno and shoegazing, amongst other generic musical labels, which I try not to use but often fail. Anyhow, I had been creating some form of electronic music by myself since my first Casio SK-1, but managed to join a few bands in the late '90s that weren't 'electronic,' per se: a My Bloody Valentine/Ride-style band and a Syd Barrett/Brian Wilson psych-pop band, for example. New tracks I'm presently working on, I think, show these influences, especially the 'wall of sound' aspect, which you may not fully hear on Suffocation.

What led you to create Alka? Is there any meaning behind the title of the project?

Michael: The eventual creation of Alka was a culmination of the many years I spent messing around with electronics and melodies in my bedroom. It really had nothing to do with my time spent in the more traditional groups, besides it being very hard to persist in the complex relationships, mainly fueled by ego, that these types of setups afford. Alka in many ways is anti-ego. With that, I wanted a name for the project that didn't necessarily 'mean' anything, rather something that had a certain feel to it, something that could be left to personal interpretation. Oddly enough, I have come to learn that Alka has different meaning in certain cultures; for example, 'a lock of hair' in Hindi.

Who are some of your favorite electronic artists? What artists have had the biggest impact on your own work?

Michael: Some of my favorites, and not necessarily completely electronic, that have continually excited me would have to be Severed Heads, Plaid, Flying Saucer Attack, Ed Rush, My Bloody Valentine, Ruxpin, Kraftwerk, Coil, Skinny Puppy, Hardfloor, Underworld...the list could possibly go on for days. As far as impact, I'd have to say a little of everyone really, but in the end, I'm left to my own devices.

You've cited mathematics and science as some of the influences on your music. What role do those topics play in your songs? How do they inspire you?

Michael: I'm not quite sure I can put into words what it is about these topics that has influenced me. A very close friend and I used to acquire old science textbooks and turn them into Dada-istic oddities. Have you ever looked at the pictures in some of these books? For me, it was like some sort of psychedelic journey. Currently in my studio there hang various items, such as a periodic table of the elements, an electromagnetic spectrum, and a spectrum analysis chart. I've often toyed with the idea of adding bunsen burners and beakers with various bubbling colorful liquids, but I simply don't have the space. Along with the semi-modular analogs and oscilloscopes, it does resemble a lab of sorts. What influence this has on my music, I am not sure of at this point. Perhaps it's the idea of a mental exploration, the idea of discovering something new.

Tell us a little about your new full-length album, Principles of Suffocation. What moods or themes were you trying to create with this album?

Michael: Firstly, I've always felt as though I worked better in EP format, as I tend to bounce around a lot between various themes. It was particularly hard for me to arrange Suffocation in a way that I felt made some sort of sense. Fortunately, I had Michael Spinka, who is in charge of Electronic Eel, convince me that it did work. The tracks on Suffocation, however, were originally recorded for release on Roger O'Donnell's then-label, 99x/10. With every track I seem to create, there is a deep underlying emotion attached to it, which is usually conveyed through the melody. My original goal with Alka was to create music that made people cry, which is probably more noticeable in my first release, A Theory of Naught. I live in an area that is largely surrounded by vast landscapes, wetlands and waterways; this it the sort of imagery I now try to recreate in my tracks. It is a funny thing; I set out to create very minimal cold electro, but melody always seems to dominate.

The album title, as well as the cover art and a number of the song titles, are quite grim, in direct contrast to the mellowness of the actual music. Was that contrast intentional, and if so, why?

Michael: I love the idea of playing with juxtaposition and that everything is not what it seems. It is also about creating a balance between what is perceived and what is reality. I dislike the obvious. Most of the people that kill themselves give no idea that they have the capacity to, and are probably quite calm when they do so; that is the sort of thing I'm trying to convey. I feel a lot of 'dark' music can be uplifting and vice versa. Melancholy does not necessarily mean depressed. The artwork was created by my brother, and I am a great admirer of his art. I knew that he, above anyone else, could recreate the feeling I was at least attempting to portray in some of the tracks on Suffocation.

Have you played live yet, and do you have any plans to do live performances with the Alka material?

Michael: I struggle with the idea of 'laptop' shows, which is what I essentially do at this point. I feel that some sort of visual element is needed to effectively get the music across, and I'm always looking for video artists to work with. I was resisting live shows as Alka for some time until I had the opportunity to play for Matthew Kirscht's art opening in New Orleans a few months back. I felt it went very well and decided to pursue opportunities performing to a more electronic-appreciative crowd closer to home. I currently have some dates in Philadelphia coming up.

What are you working on at the moment? Do you have any upcoming plans you can tell us about?

Michael: Well, working with Eel has been great, and it's all about getting Suffocation out there at the moment. I'm also very excited about the new material I am currently working on, some of which can be previewed at the upcoming live shows. I hope to release a follow up to Suffocation next summer. Expect it to be more vast, more melancholic and more illusive than ever before.