Blip: Before you got into making chip music, what type of music or art where you into?

My taste in music and art hasn’t changed drastically since I began making chip music in 1999, but I’ve dug deeper into Brazilian, French and German prog over the past decade. Wonky time signatures haven’t made it into my music, yet, but I’ve adopted a more dissonant, unstable and semi-psychadelic slant to my music that I’ll happily acknowledge as being a direct link to classic, Clube da Esquina-era music coming out of Minas Gerais, Brazil during the early- to mid-1970s; Lô Borges, Milton Nascimento, Beto Guedes and Nelson Ângelo, especially. Also, string arrangements during that same era by Wagner Tiso and Toninho Horta. All of this, of course, may be traced back to Cartola, Dorival Caymmi and Antônio Carlos Jobim whom, with Vinicius de Moraes and João Gilberto, managed to make sour notes extend into several levels of sophistication, headiness and just a bit of raunchiness.

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