Maybe, in the thousand lives of Maika Makovski (Palma, 1983), she has been a television presenter, an announcer, an actress or a painter but she considers herself, above all, music. It is music by vocation, by profession and by conversation: it only wants to talk about songs and the emotions that provoke it. Normal, when you think about technology, remember that object that helped her in her first moments, back in 2000: "I have a special relationship with the Sony minidisc that I used to record my first models. It was the first time I could do it well. It was a substantial change with respect to giving the play and the rec on a cassette. "
The minidisc of Maika did not come alone: "I had a small micro with an adjustable base with pad and everything for the antipop [el también llamado fi ltro antiviento]. Although it stopped being manufactured in 2013, Maika believes that it can continue to be useful: "It's all direct: you start and finish. And if you do not finish, you erase it. It seems to me a very good way to work for young people. You have to be able to play your song from beginning to end. It's not worth recording in pieces. "
I am easily tempted with everything I have never done
She liked it so much that, for a while, her minidisc and she were inseparable: "When I started to turn I took it to the concerts and recorded the ambient sound, I always liked it. Because the recordings by table are cold, they are hard to hear "… Small and practical, the minidisc was capable of capturing sounds that today have disappeared from our life:" Rock now is too polished. I like it imperfect, dirty … I love listening to the piggy sound of the whole band: the squeaking drumstick, the breathing of the singer or the bass player before singing … that you do not hear anymore. And I like it. Because it gives life and soul to the recording. " Then, he fell into the mobile dictatorship: "It's very comfortable. You can produce things quickly and easily in your home. You can work with loops and virtual instruments. Maybe you want a church organ … and you have it! "
This October, Maika will premiere La hora musa, a live music program at La 2. In her multimedia expansion, the Mallorcan singer with a Macedonian father had already gone from concert halls to theaters and radio. It seemed natural to end up on television: "I am easily tempted with everything I have never done. And this was a good cause because live music has not been well represented on television for some time … I could not deny it. " And even so, it has cost him, for example, technological mediations: "It is not the same to talk to a colleague of the profession than to look and speak to a mechanical eye. I have done everything I could so that I would not eat the happy mechanical eye. " It is a program in which the guild has high hopes. And Maika corresponds: "I have put all my respect to the bands that have come to play, they are the protagonists". She does not see it as a pressure, because for her that is already past, "it is already recorded". You do not have time to think about it.
Maika is focused on what she defines as "the craziest three months of my life". To summarize: bowling with The Mani- Las, the power pop trio that forms with Olaia Bloom and Mariana Pérez; an end of tour with Brossa Quartet; the soundtrack of Paco Plaza's next film and, above all, the recording in December of his new album: "It's going to be a rock band album, and I'm looking forward to taking the songs to theaters". Almost no time to go home and listen to those models that recorded with his minidisc and that were the start of one of the most relevant and active careers of contemporary Spanish music.