MYKE DODGE WEISKOPF

Hi. I’m Myke. I’m an award-winning radio producer, field recordist, and songwriter/musician based in Los Angeles, CA.

I’ve been publicly writing, thinking, and obsessing about music since age 13, when I published my first ‘zine on a hand-me-down Apple IIe and dot-matrix printer. I was blessed to come of age during the halcyon days of late ’80s independent and underground music, when college radio ruled the world (OK, my world) and the last generation of bands were operating prior to the oncoming panopticon of the internet. While still in high school, I interviewed precocious heroes including Pere Ubu, The Residents, Penguin Cafe Orchestra, They Might Be Giants, Ed’s Redeeming Qualities, Glass Eye, and other bands long since lost to time.

My first radio gig was at WTBU, Boston University’s low-power station, where I played the same warbly cart of a vintage Velvet Underground radio ad that generations of my forebears had worn thin. The next year, I scored a gig at the revered indie label Rykodisc, where I worked under the Slow River subsidiary and helped launch the careers of Josh Rouse, Fan Modine, and more.

At the same time, I formed the conceptual bedroom-pop group Science Park, under which name I released three CDs: Science Park (1997), Futurama (1998), and Disinformation (2001). Science Park earned critical praise from SPIN, the Village Voice, the Advocate, the Boston Globe, and others before disbanding in late 2001. Sometime in the middle of all that, I also spent a brief moment at the legendary Boston Phoenix alt-weekly writing for their Calendar section.

Nowadays I’m the Senior Producer in the Music Department at KCRW (Santa Monica, CA). I’m responsible for music-related special projects, broadcast and podcast initiatives, and whatever else I cook up with Anne Litt, our Program Director for Music. In April 2020, I debuted a new weekly series, Private Playlist, where I interview my favorite local musicians about the music that’s moving them in the here and now. It runs as part of KCRW’s Morning Edition lineup on Fridays. I was the founding producer of Lost Notesa documentary music series which ran for three seasons (2017-2020). Lost Notes’ third season was named one of the Best Podcasts of 2020 by the New Yorker and IndieWire, among others.

Concurrent with my work at KCRW, I’ve worked with tons of other podcasts and shows over the years. Read more about my radio work.

From 2005-2013, I ran ShortWaveMusic: a global sound series which aimed to document the sounds of regional and international broadcasting around the world. Traveling with my radios to deserts, mountains, and open plains, I recorded hundreds of hours of music and speech from stations on every continent, with a particular interest in transmissions from Africa and Southwest Asia.

One of my earliest and most enduring projects is At The Tone, an ongoing audiovisual history of the U.S. Government’s shortwave time signal broadcasts via radio stations WWV and WWVH. The project was first issued on cassette in 1992 and has been continually revised and updated over the decades since.

Another major passion is field recording, and I’ve traveled around the world to capture sonic landmarks and soundprints. I’ve recorded ritual drummers on the archipelago of Socotra; calls to prayer in rural Mali; folkloric singing in the mountains of Bulgaria; and much more. I also produce audio travelogues of Black Rock City, NV, where I’ve been an itinerant citizen since 2006.

I released a new Science Park album, Mercator, in October 2018. In the spring of 2020, I launched Faulty Machine, an experimental subscription-based distribution service for my own new music, which concluded in January 2021. More to follow.

If you’d like to read about my work in excruciating detail, check out the chronology.

I’m always happy to shoot the breeze about whatever’s here. I hate social media, but your best chance of finding me is on Instagram. Otherwise, best to reach me via the contact form below. Drop me a line, and thanks for stopping by.

[Please note that as of 1 January 2021, I am no longer fielding inquiries concerning tape syncs or lower-level production/field work. Feel free to consult the AIR Talent Directory!]