Pop Ambient 2026
 AV talks with Micå

 

Micå


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Pop Ambient 2026

 

 Micå: Finding the "Ma" Between the Beats 

The journey into ambient music often follows a path of reduction—a gradual stripping away of the unnecessary until only the essential remains. For Berlin-based producer and DJ Micå, that journey began on the high-energy streets of the 90s dance scene. As a street dancer, she lived within the pulse of the rhythm, but as her artistic voice matured, she found herself increasingly drawn to the "stillness within the movement." This evolution led her from the hypnotic depths of techno to the prestigious ranks of Kompakt’s legendary Pop Ambient series. 

In her work, Micå explores the Japanese concept of "Ma"—the pure, intentional space between things. It is an approach that treats silence not as an absence, but as a presence—a "tint" in the air that allows the listener to breathe. When Wolfgang Voigt selected her track "Is This Real?" for Pop Ambient 2024, it marked the arrival of a producer who understands that ambient music is a physical experience as much as a mental one. 

In this conversation with Ambient Visions, Micå discusses the vulnerability of stepping out as a solo artist, the technical alchemy of her studio process, and how her background in dance continues to inform the "internal choreography" of her soundscapes.

 

AV: Where did your love of music come from? It's obvious in the music that I heard on Soundcloud that you very much enjoy what you do whether its behind the turntables live or perhaps the mixing and creating of ambient soundscapes. 

Micå:  I think my love of music comes from my parents. They both loved listening to music, and our house was filled with records by artists from around the world, mostly from the 1970s through the 1990s. There were many different genres, especially pop and rock and roll. I still remember how much they enjoyed listening to music. I started learning piano when I was about three years old, although to be honest I was never particularly good at it.  

Later, as a teenager, I discovered street dance and became completely absorbed in it. Through dancing I encountered many different styles of dance music, and that was when I first became interested in music production. Around the time I began making music, many people around me were DJs, so I naturally became curious about DJing as well. I started DJing about eight years ago.  At first I mainly played house music, and for about a year and a half I was a resident DJ for a weekly hard techno night at a club. 

When the pandemic started, the DJ events at that club suddenly stopped, and I found myself with much more time to reflect and focus on music. During that period I began exploring ambient and hypnotic techno more deeply, and I started approaching my own music production with a stronger sense of focus. The physical rhythm of techno and the sense of space and artistry in ambient music—I enjoy expressing myself by moving between these two worlds. 

AV:   Wolfgang Voigt mentioned that your music was a 'surprise' discovery for the label. What was the moment you decided to send your demos to a legendary label like Kompakt, and what was your reaction when you realized you’d be featured twice on Pop Ambient 2026?

Kompakt has always been a special label to me. What I admire most is how it embraces many different styles of electronic music while still valuing melody and emotional depth.  

When I sent my demo, I honestly wasn’t specifically thinking about being included on the Pop Ambient compilation. I didn’t really expect anything to happen, but I decided to take a chance and sent five tracks. 

Later, when I heard that Wolfgang Voigt had discovered my music and wanted to include it in the compilation, I was truly surprised and very grateful. When I then learned that two of my tracks would appear on Pop Ambient 2026, it honestly felt a little unreal. 

Being able to become part of such a long-running and respected series is a great honor for me. 

AV:  Your SoundCloud presence is quite diverse, spotlighting both propulsive techno sets and quiet, meditative pieces alongside your official Kompakt releases. Was it a conscious decision to showcase both sides of your musical personality from the start, and do you feel one side informs the other?

Micå: On SoundCloud I share both techno and ambient music, but it wasn’t something I consciously planned from the beginning. It developed naturally as I continued my activities. Techno and ambient are very different approaches, but both influence my sense of flow and space in music. I enjoy moving between these two worlds and letting them inspire each other. 

AV:  How does your experience behind the decks—reading a room and managing energy—inform the way you compose a static piece like 'Echoes of Blue'? Does the DJ ever influence the composer?"

Micå: When I’m DJing, I’m always trying to sense the energy of the floor and how people respond to the music. Through that experience I’ve learned a lot about musical flow, tension, and how to create moments of release. Even when I’m creating a quieter piece like Echoes of Blue, I think about how sound moves through time, and how small changes can affect the listener’s emotions.  For me, DJing and composing influence each other quite strongly. 

AV:   There is a rich history of 'Kankyo Ongaku' (environmental music) in Japan. Do you feel a connection to pioneers like Hiroshi Yoshimura or Satoshi Ashikawa, or do you find your inspiration elsewhere?

Micå: I feel there is a beautiful sensitivity in the music of Hiroshi Yoshimura and Satoshi Ashikawa, especially in the way they treat the relationship between sound and space. Personally, rather than being strongly influenced by specific artists, I often find inspiration in changes in nature and in the feelings that emerge from landscapes. 

AV:  In Japanese aesthetics, the 'gap' or 'space' (Ma) is often as important as the object itself. In a piece like 'New Drop,' how conscious are you of the silence between the notes? 

Micå: The concept of Ma, or space, is deeply reflected in many aspects of Japanese art and culture. Although I am Japanese, when life becomes busy it’s easy to forget the importance of that kind of space. But when I encounter traditional Japanese culture or art, I’m often reminded again of the beauty of Ma. New Drop contains many sounds, but I still try to value the quietness and openness that exists between them. For me, that sense of space is also an essential part of the music. 

AV:  Your tracks often blend very human piano melodies with melancholic electronic effects. What is it about the acoustic piano that grounds your sound in a way that pure synthesis cannot? 

Micå: I feel that the sound of an acoustic piano has a very natural resonance. In some way it blends gently with the sounds of the natural world, like wind or flowing water, and that gives me a sense of calm. Because of that, when I’m creating music I often find myself naturally choosing the sound of the acoustic piano. 

AV:  Critics have described this track as 'wind across an empty landscape.' When you were composing it, did you have a specific visual environment in mind, or was it purely an emotional exploration?

Micå: My current studio environment is in a place surrounded by nature. Beyond my desk there is a wide view of rice fields, and in the morning the sun rises over that landscape. I often create music while looking at that scenery. 

AV:   Has your sound changed since moving from the Japanese scene to working with a German label? Have the 'colors' in your palette shifted? 

Micå: Yes, I think it has changed. In the past I often layered many sounds to decorate the music. Recently, however, I’ve become more conscious of removing sounds rather than adding them. By simplifying the music, I feel that the sense of space within the sound has become clearer. 

AV:  For our tech-focused readers, what are your primary tools for creation? Are you a 'hardware-first' artist, or do you prefer the flexibility of digital environments?

Micå: For production I mainly use Ableton Live. I sometimes use an analog KORG Prologue synthesizer, but I also work with software synthesizers quite often. I feel there is something attractive about both analog and digital instruments, and I would like to continue exploring them more deeply. 

AV:   Your Instagram handle and your techno mixes often reference space or the moon. What draws you to the 'cosmic' side of electronic music? 

Micå: I’ve always been drawn to the moon and outer space. When I look at them, I feel as if they give me a certain kind of energy. When it comes to creativity, I feel that inspiration doesn’t come only from within myself, but often from the natural world around me. Perhaps it comes from a sense of respect and gratitude toward nature and the universe. 

AV:  If you could collaborate with any artist from the history of the Kompakt roster—ambient or techno—who would it be and why?

Micå: Rather than thinking about collaboration, I feel a deep respect for Wolfgang Voigt and the way he curates the Pop Ambient series. When I listened to Pop Ambient 2026 on vinyl, I noticed that the record version connects the pieces in a continuous flow. The different works blend together almost like a story unfolding. After finishing the record, I was left with a refined feeling, similar to the sensation of experiencing a piece of art. It moved me very deeply. I hope to continue creating music and perhaps have the opportunity to be part of this series again in the future. 

AV:  As a new artist entering the global stage in 2026, why do you feel it’s important for listeners to support artists directly on platforms like Bandcamp rather than just streaming?

Micå: I think streaming services are wonderful in the sense that they allow music to reach people all over the world. At the same time, platforms like Bandcamp allow listeners to support artists more directly, and I feel that this can create a deeper connection through music. That kind of support can become a great source of encouragement for artists to continue creating music. 

AV:  Now that the world has been introduced to you through Pop Ambient, what is next for Micå? Are you moving toward a full-length ambient album, or perhaps a techno-driven release?

Micå: I would like to continue creating new music and gradually evolve my sound. Since I work with both ambient and techno, I’m interested in exploring the space between atmospheric sound and rhythm-driven electronic music, moving freely between those two worlds. Through my releases and DJ sets, I hope to continue connecting with listeners around the world.

AV:  I’d like to thank you very much for taking the time to talk with us here at Ambient Visions. It is obvious from both the techno and the ambient music on your SoundCloud page that, regardless of which genre you pursue, you will find success in whatever you choose to do. I hope you enjoy the musical paths that lie before you, and I know the listeners who discover your work will be glad they did.