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INTERVIEW: Mimetic

Hi Jerome, welcome to VENTS! How have you been?

Hello, I’m fine thanks. The release of an ep is always as exciting…

Can you talk to us more about your latest single “Maidenhead”?

Sure. I released it on my own Swiss label “Les Arts Minis” which is as well the management for other Swiss artists such as La Foret, Garance of Puma. It’s a white colored 12” vinyl.

Did any event in particular inspire you to write this song?

I have a very specific music background, I was into classical music for many years as a clarinetist, then I was playing drums in French punk bands, playing experimental music in the late 90’s with bands such as Column One in Berlin and finally I was really active in the German Industrial scene. My last album “Where We Will Never Go” (released on Hymen) marks the end of my Industrial time and I wanted to release a very light EP, maiden like…. It’s a transition EP.

Any plans to release a video for the single?

Initially, I had a strong idea for a video, but time past quick and I finally decide to release the video with the next album.

Why naming the album after this track in particular?

As said, for me it was quite important to highlight the concept of maidenhead, to prepare my old audience to be ready to listen to it. Since I’m more into the real techno scene now, it is quite interesting to check how the people who know my old music reacted. For instance, one of my old labels said it sounds disco!

How was the recording and writing process?

I always consider a composer and producer like a researcher. Of course there are ideas you have in mind and you try to translate them into sounds, but most of the time I consider the best music, as light as it can be, is coming from experimentations… But not in an intellectual way, much more like punk music was born, or like Industrial pioneers such as Throbbing Gristle did… You take an instrument, can be a computer or an analog synth, and you try to use it as an experiment, you don’t use it as the manual said you should… Most of time you need to know the manual to do it so, but once you are ready to work like this at the end your experimentation gives sounds you couldn’t imagine, and those sounds give you new ideas and so on…

How much does your classic training influence your music?

Classic music is as excellent as closed. Classical composers are genius while some of them are crap… I love the time where composers tried to use the orchestra as a huge new instrument to make some new sounds, for instance when Gustav Mahler used 2 full orchestras facing each other, that’s so powerful! When you have close to an orchestra (with a good conductor) who is playing “Le Sacre du Printemps” from Stravinsky you can feel the power, there is even a small wind coming to your ears… The best one for me is Edgar Varese, he tried to imitate the sounds of the cities with an orchestra!  Anyway, classic training is a positive way to understand structures, melodies, etc., but on the other hands it is important to keep a balance between rules and anarchy in any arts… It is always more difficult for a classically educated to experiment and be creative than for a self-educated… I consider it was a chance to learn what I learned so far, but I always have to be aware to not consider everything I learned as THE truth!

Any plans to hit the road?

I’m djing a lot right now. I will build a new live set for my next album together with the visual artists SigmaSix.

What else is happening next in Mimetic’s world?

I did a few sound installations with SigmaSix as well; one of them called “Vertical Surround” was presented at the Taiwan National Museum. It is an octophonic sound and lights installation inside a big Black Cube… You can have a look below, but the best would be to check the installation as the sound is surround…

http://www.sigmasix.ch/verticalsurround/

About RJ Frometa

Head Honcho, Editor in Chief and writer here on VENTS. I don't like walking on the beach, but I love playing the guitar and geeking out about music. I am also a movie maniac and 6 hours sleeper.

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