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Mica Leviâs shuddering film scores leave no room for imperfection. The shrieking strings of the war thriller
Monos breathe hesitantly, any silence a highly intentional harbinger of doom; the solemn soundtrack of the Jackie Kennedy biopic
Jackie undulates with a steady rhythm, matching the slight, deliberate movements of its grieving subject. Even the calculated, self-contained shifts of Leviâs musical calling cardâa slanted, sliding glissandoâsignal the interventions of a composer.
But as a producer, theyâve built entire rhythms on the subtle jostles of human fallibility, crafting beats that bounce with drunken bravado. The overdriven, sludged-out pop of their band Good Sad Happy Bad (fka Micachu and the Shapes) takes electroclash intensity to its logical conclusion, leaving singer Raisa Khanâs vocals barely distinguishable from dense layers of guitar. When pressed to describe their core genre for a U.S. artistâs visa, they chose âloud and noisy.â After a lifetime of classical music training and over a decade in the music industry, Levi codifies that descriptor on their debut solo record,