Mimi Luse Takes An Exhilarating Turn To Industrial Techno As Permanent

Mimi Luse Takes An Exhilarating Turn To Industrial Techno As Permanent

Constant hunger or vomiting Modern connections; December 9

Mimi Luz was a dead teenager. She can be on vacation in her hometown of Connecticut most weekends; She's not into music, but she's a fan, to say the least. It was the early 2000s and she was very popular in the commercial jam and classic rock scene. She read all the sixties counterculture books in the library and began sewing her own clothes on a sewing machine.

"I was a hippie!" Luz, now 38, says he recently started using it to test basses and drums while sitting next to used cars. "I was really trying to create my own culture."

Returning home from her job as events manager at the Nasher Museum, Luz wore a bright green sweater and black dress in stark contrast between a smart casual look and a tough, tough look. . The music she makes.

But many red begonias disappeared and DAF, the pioneering German new wave band, was for a long time (with black skin) Luz's first band, Cochonne, under the influence that turned him into post industrial techno - punk. His only project is a perennial, fast-flowering, late-flowering variety.

Luz discovered punk late in high school at an art camp in Boston, where she learned to despise New York's less adventurous kids. It was the fast-paced musical The Big Bang at McGill University, where she studied English and art history with dreams of becoming a feature writer. She entered the turbulent life of Montreal as cultural editor of the McGill Daily , a historical student newspaper. He attended workshops and warehouse shows, immersing himself in genres such as electroclash, no wave and noise.

However, making music seemed like a business that only good people do; And she said she didn't feel very well. "I was a writer, a cultural observer. I saw myself more as an observer.

After college, he spent several years in New York working at an art auction house and writing for magazines such as America and Frieze . She then took a year off to apply for graduate school while living with her French grandfather in Paris and working in a mattress store. In 2011, he enrolled at Duke to complete his Ph.D. in art history. His focus was on a period when art critics and journalists in early 20th-century France opposed modernism, a key tenet now found in his music, emphasizing the interconnectedness of art, culture and history.

But by then she had become a writer of history and music had faded into the background.

The years between 2015, when Luz was leaning towards her thesis, and 2019, when she finished her dissertation, were a blur. He went to Paris, then to Durham, then to Paris, then to Durham, then to Amsterdam, then to Paris, then to Durham.

Somewhere in between, in Paris, something woke up.

"I think that's when I started living again, being a part of it, going to clubs and meeting musicians and artists," he says.

Before leaving Durham, she took bass lessons at Girls Rock, which were "awesome" and was inspired by all the women she knew who started bands like Fitness Womx and Silent Lunch. She auditioned to play in a post-punk band in Paris, using her limited experience to learn the songs the hard way, and was devastated when she couldn't get in.

"But that's how I learned to play music," she says. "Now I know how to play. I don't deserve to be in this tour group, but I can make my own group."

In 2017, Luz and Patricia Bass, the drummer in her band, started writing demos. Luz sang in French and found lyrical interest in her rough command of the language. Originally called ODV, Duchamp's ode to the band's last name, the name Cocoon is hard to explain, conveying a strangely feminine word.

"I can't tell my French family the band's name because it's too offensive," Luz says with a wry smile.

In Durham, she is joined by Mariel Duthoit on guitar and Carla Hang on keyboards. Hannah Spector (who played in Silent Lunch) and Jeff Schilling played drums constantly. Dave Rodriguez later played bass and synthesizer. Appearing on Lizzy Mercier's No New York and Desclox, Cocoon's music may recall a lost 1982 Rough Trade demo.

They spooned like The Slits and aired like Joy Division. "But it was never pasta," says Luz. "It always came from me appreciating the contemporary bands I was listening to and reading old rock and roll reviews of post-punk bands with female vocals."

Cochonne played a few shows, but it was a songwriting and recording project, with the eponymous Pink Tape due out in 2019 and the 12" in 2021.

"For me, electronic music and the spaces it creates are an extension of the modernist project to bring art to life," he says. “You are not a passive observer and that was the point of Dada, Futurism and Surrealism. You make reality weirder, but the audience is fascinating."

He got some gear (plant pedals, Roland Groubox sequencers) from Duke's friend musician Yair Rubinstein, who gave him a crash course in discovering his industry idols: Geometric Splendor, Chris & Cosey, DAF.

I learned how to line up drums, bass and synths as a band. After a Manhole-like audio collage tape, there was a steady stream of When the Epidemic Began, the multifaceted monsters of Empire Forty, Shadows of a Glass of Wine, ASMR and horror movies, Seneca and The Real Housewives.

The band's first permanent, Social Disease , was more synth-pop, but later releases are filled with industrial techno. "Because it looks scary!" Light explained. "I like power. I want her to be scary and jumpy.

This intensity is evident in the explosive bass machines of the A0 Museum , named after the effect pedal, a nod to the work of Luz Day, released in October by the experimental group North Carolina Fresh. As part of a short European tour, Luz and Ryan Martin have released new releases and act as a secret lover, a permanent sound housed in a travel box.

Luz said the generosity of musicians like Rubinstein, Martin and Nightlight in Chapel Hill was instrumental in creating a sense of musical license.

"It's like Girls Rock," she says. "It is very important to create institutional structures for educating people.

Hungry or Nauseous, a pulsing techno-tinged streamer, will be released online via Modern Tapes on December 9th. The first vinyl record for the Brooklyn label is out in a week.

There's also a regular track on Women's Invented Noise Volume II , a new compilation from British industrial label Coast. Light indicators "Dr. Mabuse movies.

He performs at Fruit on December 9 and 17 as part of the licensed and undisclosed parties, respectively. She does not use a laptop; The kits are pure hardware, though that has more to do with the learning curve than the ideology of classism.

Just as Lutz's music is layered with cultural contexts, there is something exciting about it, something free, open to exploration, something that she sees as she circles around herself, in the middle of the musical, rather than from the sidelines.

"I don't consider myself a character," he says. "I consider myself a technician." But in stark contrast to this neutral article, this academic reflection, there is something else, sharp but complete.

"I've always been passionate about music," says Luz. But in the end, when I started doing it myself, it gave me a sense of belonging that I had never experienced before. I created a stronger inner world and was able to access my dark side through it.

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