Mitsuru était très bon pour couvrir les preuves, et au moment où il s'était installé dans son nouvel environnement, sécurisé le petit appartement loué par ses parents, et trouvé le chemin le plus rapide pour le campus (28 minutes à pied. 35 marchant plus de préférence), rien d'autre que son frère nouveau que ce « grand voyage de découverte de soi » que ses parents avaient si hâtivement mangé impliquait qu'il s'inscrivât dans un grand total d'une classe.
Mitsuru s'était inscrit dans une seule classe. Décevoir ses parents comme il ne l'avait pas comblé autant de remords qu'il ne l'aurait été s'il n'avait pas confiance dans l'idée que c'était bien pour elle, et que ses parents ne comprendraient tout simplement pas. L'éducation qu'il avait l'intention de recevoir n'impliquait que très peu de cours en classe. Bien que, en se basant sur les peu d'informations qu'il pouvait recueillir à ce sujet, ce club de musique semblait pouvoir révéler une partie de cette chose pour laquelle il maintenait sa recherche continue, cette chose qui révélerait où lui et le Japon se chevauchent, et avec n'importe quelle chance, il pourrait y trouver des gens intéressants; presque aussi bien, il pourrait trouver quelques amis.
Mitsuru se déplaçait tranquillement dans la direction générale de la salle du club (quand il s'agissait de voyager, il appréciait la convivialité sur l'efficacité), s'arrêtant si souvent pour ajuster la musique actuellement en train de jouer à travers ses écouteurs, la musique qu'il écoutait actuellement sur une cassette. Bien que certainement pas son format de choix, l'excentricité incessante du frère de Mitsuro Suzaku a apparemment dicté que tous les mixtapes de frères et sœurs soient construits en fonction de son opportunisme continu de rendre le « voyage » de Mitsuro aussi ressemblant que possible à un roman à venir d'âge. Ou peut-être que Suzaku aimait les cassettes. Parfois, c'était difficile à dire. Quoi qu'il en soit, la musique était superbe ; une curation immaculée des airs électroniques minimums, 7 du Japon et 7 des Etats-Unis. Suzaku a toujours pris la fierté de son symbolisme flagrant, un fait Mitsuro trouvé infiniment amusant.
Lorsqu'elle est finalement arrivée sur la porte d'jar de la salle de club Onshoukai, le premier coup d'œil de Mitsuro à l'intérieur a presque détruit son calme naturel. Voyant une chambre brune aussi sombre apparemment remplie au bord de cheveux et de vêtements si colorés et ostentatoires que de suggérer un ressentiment total pour le concept même de monochromaticité, il ne pouvait pas s'empêcher de sentir qu'il venait d'entrer dans une machine à gomme poussiéreuse, et à une bande son Ryoji Ikeda non moins. Une de ces filles avait même un smoking. Un smoking! Et il adorait ça. Malgré ses propres vêtements non descriptifs et ses cheveux bruns sans style (sans parler de sa stature générale), Mitsuro avait une grande affection pour les gens qui n'avaient pas peur de se démarquer.
Alors que le doux chuckling de Mitsuro a cessé et s'estompait dans un sourire subtil mais indéniablement chaleureux (quelque chose d'une rareté pour Mitsuro, en particulier parmi les gens inconnus), il a délicatement enlevé ses écouteurs, a empoché son lecteur de cassette, et sans enlever ses mains de ses poches et sans s'adresser à personne en particulier, laisser un doux mais sans peur "Hi"
Name:
Mitsuru Karnaukhov
Appearance:

Age:
20
Gender: 
Gender-fluid (doesn’t really give a shit about pronouns. He/she/they/ze all fine)
Birth Date:
Dec. 1st
Sexuality:
Pansexual
Major:
Film Studies
Role:
Producer (+ various fill-in positions if need be)
Instrument:
Laptop + whatever happens to be at hand (loves working in studio when one is available, uses makeshift bedroom studio when one isn’t)
Personality/Quirks (gonna keep this one relatively brief so most of it can reveal itself naturally):
-Loves music (duh)
-Generally introverted and quiet until the conversation shifts to something she’s passionate about
-Is very open-minded and has very few solidified opinions on things, but the opinions he does have are solidified as fuck
-Very hard to anger, though if you really want to, bringing up Putin is a good place to start. (probably inherited this one from daddy)
-Phobia of speed. Even being in a car going faster than 60 at the most will leave him silent and shaking.
-Closed-off to those she isn’t really close to. Will appear cold and reserved to most but those who know her know Mitsuro as vibrant and emotional when she’s comfortable appearing that way (very good at concealing it when she isn’t)
-Laughs at things that almost nobody finds funny, and rarely laughs at much else
-Very close to brother, with whom he is in fairly frequent contact via email and whatnot
-Is extremely kind and empathetic towards the few people he is truly close to
-Thinks institutionalized musical education run’s contrary to his philosophies on how music is meant to be appreciated, and so majoring in film studies simply so he doesn’t have to go undeclared (and because he likes watching movies)
Talents:
Mitsuro has a fantastic ear for music. If he hears a song in his head and he’s with a competent musician, chances are before long the two of them will have worked out something wonderful. Can take a good song and know how to make it better, either to himself or the public at large. Although himself not very good at actually playing instruments, he knows how music works at a gut level, making him very valuable as a producer. Can also play quite a few instruments at fairly basic levels if an extra player or a fill-in is ever needed in the studio if it’s not too tricky a part. Speaks fluent Japanese and English and passable Russian.
Favorite Musicians Include:
Albert Ayler
Dmitri Shostakovich
Igor Stravinsky
Galina Ustvolskaya
Isao Tomita
Keiji Haino
Fushitsusha
Susumu Yokata
DJ Krush
DJ Shadow
DJ Vadim
Wu-Tang Clan
Jacks
Yellow Magic Orchestra
Auktyon
Aquarium
Leonid Fedorov
Alexander Scriabin
Christian Zanesi
Luc Ferrari
Can
Miles Davis
Edgard Varese
Sofia Gubaidulina
György Ligeti
Harry Partch
Tolerance
Antipop Consortium
Basic Channel
Monolake
Boards of Canada
The Books
Digable Planets
Freestyle Fellowship
Ultramagnetic MCs
John Zorn
John Coltrane
Alice Coltrane
Masahiko Satoh
Borbetomagus
Peter Brötzmann
Ryoji Ikeda
BACKSTORY:
When the Berlin Wall fell, Mikhail Karnaukhov was among the first men to find reason to leave, even if only for a moment. Being top in his field as a highly regarded educator of Russian history, (not to mention his wealth of firsthand experience), it was not hard for Mikhail to find some University outside of the newly redefined Russian borders that would gladly pay a healthy sum for him to speak on his research and experiences. Hokkaido University almost immediately showed interest in what Mikhail had to offer, and so within days he left for Japan. Here he met Azumi Ametsushi. Azumi created ceramics from within a studio she owned not far from Mikhail’s hotel. He didn’t know why at first, but something drew his from existing across all the multitudes of cultural newnesses of these streets he had before only seen in books, and directed him towards the window of one small shop in which a collection of seemingly modest pottery was on display. He shuffled through the congestion of pedestrians and began to make his way towards the display, if only to determine just why he felt so compelled to see what was there. There was something at first different, and eventually, incredible, about the ceramics he saw on display. On each pot the folds of the clay contorted and interwove themselves across a subtly blue-toned surface that seemed to consist of either three layers of blue clay waves or a single plane of sparkling azure, depending on how one decided to look. The illusion was that of flowing water, of crashing waves. The ceramics, they seemed positively alive. In rapt fascination Mikhail found himself continually turning his head at various angles just to confirm for himself that the patterns weren’t deceptive projections on his gullible perception, tricks the light would have way to play on one’s eyes to make the merely pleasant appear magnificent. As time came to prove, there was no illusion. Mikhail had already lectured, he had another day to explore Japan before he was scheduled to return home for a brief conference. Perhaps he could forego the conference entirely. He could stay a little longer.
The next 24 hours went by in the kind of lucid haze that rarely find itself experienced in one’s waking life, and at various points Mikhail did wonder if he had simply fallen into the most blissful of subconscious deceptions; he didn’t dwell on such thoughts for too long, as he feared they would wake him, and Azumi herself wanted nothing more than to share this dream with the first individual to see in her art what she felt while guiding it into existence. The first person with whom she had felt truly connected in a very long time.
He decided to stay, if only for awhile. They both inwardly and perhaps foolishly hoped that awhile would last forever.
24 hours later a group of Chechen rebels began staging attacks beyond the outskirts of Gronzy, attacks that were not successfully quelled until every nearby structure capable of collapsing had been made to do so. Among the damaged buildings, and arguably the most terribly irreparable, was the conference hall in which Mikhail was scheduled to be speaking. Mikhail told Azumi he owed her his life. This fact had nothing to do with attacks, he would lean in and whisper, not caring if she was listening, knowing that she understood. He owed her his life, and she asked only that it include her. Mikhail never returned to Russia.
Mitsuru Karnaukhov was born in late 1995, hardly 6 weeks before his parents were scheduled to make a fairly sudden move to the United States. In the years he had lived in Japan, Mikhail had discovered he had an innate and impressive capacity for understanding the inner-workings of capitalism, something he could never have known under Soviet Rule. Azumi proved to have extensive PR skills. Their entrepreneurship it seems had come to take them to the oh-so-cliché “land of opportunity”, where what began as the Karnaukhov’s small local startup was expanding internationally. Azumi may have been the most excited for the move, as a number of modern art journalists in their soon-to-be new home of southern California had expressed great interest in her artwork over the years. Their lives seemed to be pulling them, and the young Mitsuru, to the west.
A year later, Mitsuro’s first and only sibling came into the world; Suzaku was the first of the Karnaukhov-Ametsushi’s to be born in this new home, and as the two brothers grew, it almost seemed like each knew exactly where they had been born. Suzaku acclimated to the world far faster than did Mitsuro, although speaking in short fragments while Mitsuro had begun putting together relatively complex sentences, Suzaku would sprint with excitement to all that drew his interest while Mitsuro was just learning how to stand. Such trends of contrast continued as they grew, solitary Mitsuro and eccentric Suzaku, and although the two were very close, they shared little in common; what they did have in common was they both understood the odd innerworkings of the other’s psyche in the way that only a sibling could, and they both found their greatest joy in life in music, each devouring every sound they could find, sharing every esoteric discovery with each other, and ultimately trying to teach each other how to make their own. Suzaku was a fast learner, and by age 17 could play a variety of instruments with startling proficiency. Mitsuro spoke of music with as much passion (and with far more eleoquence, when he chose) as Suzaku, but could not seem to perform it himself at any level beyond the basic. He could passably play almost any instrument that Suzaku could, but found it impossible to master any of them. He always knew exactly what he wanted the music to sound like, and if he described it to Suzaku he could hear his vision coming into reality, and he was for a moment happy that this was possible and then immediately distraught that it could not come from himself. Although Suzaku was more than happy to perform Mitsuro’s ideas, his inability to do so himself would be a source of great vexation for him for much time to come.
As Mitsuro continued to grow he found himself more and more interested in this idea that while his brother was born an American, he was not. By the time he started American college he had determined that he was just as curious about his own Japanese roots as he was the nature of his own gender. His (and now acceptably her) family was supportive of both endeavors. As Mitsuro’s idea of who they were as a person as far as his personality, interests, sexuality, and gender were concerned, he wanted to understand more about what his heritage meant to him, specifically that on his mother’s side. And so with his parents’ blessing (and money), after two years of American college, he moved on his own to Japan, and enrolled at 20 in  in Tokyo. Mitsuro wanted to know what it meant to be Japanese, but even more than that he wanted to really know what it meant to be Mitsuro. He needed to find something here to latch onto, something that he already knew was an integral part to who he was, before he could begin to understand more. Before long, word of a music club on campus found its way to Mitsuro’s ears…
Relationships:
Suzaku Karnaukhov:
Brother, with whom Mitsuro is closer than anyone. Probably the only one that really gets how Mitsuro thinks. He’s one hell of an eccentric bastard and has been known to perform with his band by slingshotting pebbles into a gong on the other side of the stage.
Mikhail & Azumi Karnaukhov:
His parents. Although not as close as his is to his brother, they still maintain somewhat regular contact, and their relationship is all well and good.
Other People TBD