Was born in 1980 in the Basque country. Mikel Chamizo started in the world of music by playing the oboe, until he realized that playing an instrument wasn’t his thing. More interested in the theory rather than the practice, when he was 18 years old he started to write articles and musical critiques for the magazine Mundoclasico.com under the guardianship of musicologist Xoan M. Carreira, who opened his eyes to the hidden beauties of the most unexpected repertoires. This need to discover, think and analyze the music eventually led him to study composition in Musikene, Music Center of the Basque Country, with maestros Ramón Lazkano, Gabriel Erkoreka and Stefano Scarani. Six years of intense studying and discipline gave him a solid technique, but Chamizo left Musikene without the desire to hear one note more of contemporary music. He moved to Madrid and he began to explore the underground cultural movement of the city, becoming obsessed with electronic music and composing in all types of anti-classic styles, from techno-pop to hip-hop. He also began to make scores for audio-visuals, writing music for several works of video art, documentaries, short-movies and even for a movie that never made its premiere.
His interest in new technologies led him to experiment with all types of electronic machines, composing one of the first chamber music work for reactable and acoustic instruments, that was premiered in the Universidad Pompeu Fabra of Barcelona, the place of the creation of the reactable. His current commissions are linked in their majority to electronic manipulation in real time of acoustic traditional instruments. But in his most ambitious project, “365 musical tweets”, he returns to the piano to reconcile with his classical roots. Moreover, the composer Mikel Chamizo earns a living writing about classical and contemporary music for magazines, newspapers and musical institutions in Spain.