Behind The Beat: MiMoSA
We kicked it with MiMoSA prior to his performance at Snowboard on the Block here in Denver, Colorado! Amongst many things he is the founder of his own record label False Idol Muzik and is continuing to pioneer the Future Trill movement. He clearly has made a solid name for himself as one of the best underground producers on the West Coast.
OTB: Thanks for meeting with us today, I’ll jump right in and ask how you picked up the name MiMoSA?
M: It was given to me by a close friend when I was younger. We were experimenting with some plants when it came about. I’ve heard that in Argentina guys call their girlfriend mimosa, similar to sweetheart. In Alaska its a plant that if touched it moves and curls in. Its all sorts of things a perfume, a plant, a chemical, and lastly its champagne and orange juice.
OTB: On your left forearm is an L.A. tattoo, is that where you grew up?
M: Originally I was born in Armenia, which is a third world country before immigrating to California when I was three. I grew up in L.A. with a single mom, where we moved around from house to house. Homeless some of the time, I lived with a lot of friends. Growing up there are a lot of Armenians associate with a mixed culture of Italian Mafia meets street gang. It’s that Los Angeles kind of vibe that kids want to be a part of, they reenact it and actually end up being in those gangs. If it wasn’t for us moving to the Bay Area, I would most likely been on that same path.
OTB: As a young artist growing up on the west coast what were your musical influences?
M: I was influenced by heavy gangster rap, 90’s golden era hip-hop, and weird ambiance music like Enya or some shit like that. My mother didn’t speak much English so she wasn’t aware of what she was buying for me.
OTB: Your latest track 1915 (Dle Yaman) feat. Kraddy – is a special track to you?
M: Recently I put out a track that was very special to me called 1915 feat. Kraddy – I sampled my great grandmother in that. She was a direct survivor of the Armenian genocide. We did the track with authentic Armenian instruments that just naturally transitioned into a beautiful thing – I love it.
MiM0SA x KRADDY – 1915 (Dle Yaman)
OTB: When did you realize that creating music was something you could get behind full-time?
M: I went to Burning Man back in the early 2000’s and stumbled upon a guy named Tipper. He was the first person I had ever heard mix psychedelic sounds to psy-trance along with the beats of hip-hop. Some of my homies were big into the psy-trance community, so they started teaching me how they do their thing. I picked up a version of Fruity Loops and started incorporating my own flavor. From then on I started going to more psy-trance parties. There would be these tents that if you found the music to be too intense while on psychedelics or whatever, you go to relax and wind down. They usually played break beat music or broken beat, those inspired me. Not long after that I put my first album out.
OTB: MiMoSA and Future Trill go hand and hand, how did that title come about?
M: Future Trill for me started before trap music was a thing. I put out a mix back when a lot of screechy dubstep was going on. The compilation of music I was creating needed a name for it. It wasn’t dubstep and it wasn’t hip-hop necessarily, because it was too weird. It was slow, and highly inspired by DJ Screw, Pimp C and Bun B who started the trill movement. Lots of chopped up beats and things like that. I thought, what if we throw a twist on it and call it future trill. We ran that through my friends and screwed around with it for a while. Whether it’s 808, trap or whatever you want to call it, Future Trill is basically a self-proclaimed genre to separate myself, which is funny because to be outside the box is also putting myself back inside a box.
OTB: You have your own record label named False Idol Muzik – fill us in more?
M: False Idol Muzik was inspired by a group of people who have a company called False Prophet. They threw festivals and brought me up in the scene. Growing up I used to look up to certain people, but as I got older and understood more, I realized things aren’t really what they seem to be. This taught me to follow my own path. Believe in myself, to follow my heart and that will guide me to where I need to be. That is where the whole concept came from, not to idolize anyone too much but to follow your own path.
OTB: Recently you were involved in serious car accident, how has that affected you and your music?
M: The accident certainly gave me a new perspective on life. I remember the vehicle striking the median on the freeway then slamming into a semi-truck. I literally escaped death by inches, a couple extra feet more and I would have hit a cement wall. When the firefighters got there they thought they were walking up to a dead body. To their surprise I was alive having only sustained some bruises and a broken leg. At that moment I thought, shit this could have all ended right here. There’s more to give, that accident wasn’t my time, it was like a check from God. I had been going a billion miles an hour over the past decade, and taking a lot of things for granted.
You think you can still do all the shit you were doing when you were 18. Except now your approaching 30, and need to check yourself. There’s a new approach on how I want to conduct my music, which has taken me a minute to put out new material. This was a big thing for me to get over, and I’ve taken the time off to self reflect. I had 20 songs ready to go prior, but now I’m going back and working on a body of music. Music that reflects me and that whole experience. Life is a vessel, it’s material, and it’s on me to translate it. Looking back I want to put that emotion, that vibe, out there. God has a way of letting you know to chill out, and appreciate the small things in front of you.
OTB: Now that you’ve taken time to reflect, what’s your next step?
M: I’m excited to get back into the studio, it’s a process creating such a giant body of work. I’ve been writing beats in the mean time and putting together ideas. I really want to hone in on a certain type of energy this time. In the past I used to just channel beats and work with what ever came out. Songs would then be arranged in the order that felt right on the album. This album is being put together differently, with a body of work and a certain type of vibe.
Connect with MimoSA
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