Born in 1953 in Germany, Stephan Micus made his first journey to the Orient at the age of sixteen. Fascinated by the variety of musical cultures around the world Micus has travelled in virtually every Asian and European country as well as in Africa and the Americas. Studying with local master musicians he learned to play numerous traditional instruments, many of them unknown in the Western world. However, Micus‘s intention is not to play these instruments in a traditional manner, but rather to develop the fresh musical possibilities which he feels are inherent in them. In many of his compositions, which he performs himself, he combines instruments that have never before been played together. The resulting dialogues further reflect his vision of a transcultural music.
In addition to his exclusively acoustic instruments Micus also uses his voice, at times – with multitrack recording techniques – creating whole choral pieces by himself. The words he sings usually do not carry any known meaning. However, on Athos he set to music ancient Greek prayers to the Virgin Mary, on Desert Poems he performed two original poems in English and on Life he has set to music an ancient Japanese Koan.
Many of Europe’s leading dance companies have chosen his work for their productions. He has performed hundreds of solo concerts over the last 30 years throughout Europe, Asia and the Americas.
Studies
He has studied a variety of instruments including guitar, concert-flute, sitar in Benares (India), flamenco guitar in Granada (Spain), shakuhachi (Japanese bamboo flute) and sho (Japanese mouth organ) in Kyoto (Japan), suling (Balinese flute) in Ubud (Bali), Uillean pipes in Carna (Ireland), sinding (African harp) in Gambia, dondon (talking drum) in Accra (Ghana), doussn’ gouni (African harp) in Bamako (Mali), duduki (Georgian oboe) and Georgian polyphonic choral singing in Tbilisi (Georgia), hné (Burmese oboe) in Yangon and Mandalay (Myanmar), duduk (Armenian oboe) in Yerevan (Armenia), bagana (Ethiopian lyre) in Addis Abeba, nohkan (flute of the noh theatre) in kyoto (japan). Bulgarian polyphonic choral singing in Plovdiv (Bulgaria) and genbri (bass lute of the gnaoua) in Essaouira, Morocco.
In search of musical culture and context Micus has travelled extensively, in particular in India, Japan, Indonesia, Korea, Afghanistan, Morocco, Algeria, Tunisia, Thailand, Egypt, Burma, Sri Lanka, Turkey, USA, Canada, Israel, China, Gambia, Senegal, Nepal, Ladakh, Sinkiang, Venezuela, Tanzania, Argentina, Peru, Ghana, Mali, Jordan, Georgia, Ethiopia, Pakistan, Yemen, Cuba, Lebanon, Laos, Vietnam, Cambodia, Uzbekistan, Kyrgyzstan, Cabo Verde, Mauretania, Armenia, Karabagh.

Implosions
Track List
01.As I Crossed A Bridge Of Dreams
02.Borkenkind
03.Amarchaj
04.For the 'Beautiful Changing Child'
05.For M'schr and Djingis Khan
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Koan
Track List
01.Part I (Shakuhachi Solo)
02.Part II (Zither, Gender, Shakuhachi)
03.Part IIIa (Sarangi, Shakuhachi, Rabab)
04.Part IIIb (Rabab, Sarangi, Bodhran, Angklung)
05.Part IV (Kyeezee-Burmese Bells, 2 Vocals)
06.Part V (Kyeezee-Burmese Bells, 2 Vocals)
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Behind Eleven Deserts
Track List
01.Salinas Dance
02.Behind Eleven Deserts
03.Katut
04.I Went On Your Wing
05.Over Crimson Stones
06.Pour la fille du soleil
07.The song of Danijar
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Till The End of Time
Track List
01. Till The End Of Time (Table Harp,Kortholt,Zither,Guitar)
02. For Wis And Ramin (Guitar,Zither,Vocal)
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Wings Over Water
Track List
1.Pt. 1 (5 Acoustic Guitars, Nay)
2.Pt. 2 (Sarangi, Voice, 6 Flowerpots)
3.Pt. 3 (2 Spanish Guitars, 9 Flowerpots)
4.Pt. 4 (Nay Solo)
5.Pt. 5 (22 Flowerpots, Nay)
6.Pt. 6 (3 Spanish Guitars, 4 Bavarian Zithers, Suling)
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Listen to the Rain
Track List
01.Dancing with the Morning
02.Listen to the Rain
03.White Paint on Silver Wood
04.For Abai and Togshan
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