Meet ROZKOL

I'd always wanted to be some sort of artist growing up but took the “practical” path for college and studied computers instead. Still, whatever created that dream as a child was not something easily suppressed, and eventually it overwhelmed me. The fear of leaving such an essential part of myself unexpressed was too powerful to ignore.

When I started, I had no concept of music theory, or the practicality of recording, mixing, and releasing music. I was naive, could barely play my instruments, but driven by a manic compulsion. To an omniscient viewer, I must have looked very much like the ape at the beginning of 2001: A Space Odyssey discovering a bone could be used as a club while the surrounding apes were using power tools and driving spaceships. But there's something to be said for learning “on the job.”

Today, I am so deeply grateful I get to make music. Every fan or creator that messages me, every video or podcast I've ever heard my music pop up in, it brings me inexpressible joy. - III.

A driving bass-line, strange metallic percussion, and a lead synth that's actually something like an industrial machine being fed through enough distortion to become a warbling melodic cry like that of some ancient, giant animal. I know I made it, but if I sat down and tried, I could never do it again. - Chase Scene. I'm always shocked at how bad I am at guessing based on my own tastes what people will like most on a given release, but it's a freeing realization.

I've never felt compelled over the years to stick to a narrow genre. I make what feels good and true to me at the time and trust that someone out there will find a use for it, whether that's a fairly straight EDM song like this or a gritty/sleazy disco track about Jean-Paul Sartre's "Nausea" like ROZKOL