Mimu – Elegies In Thoughtful Neon



01 Intro (Elegies In Thoughtful Neon)
02 Sticks And Stones
03 Deer And Fox (Violin Version)
04 The Tender Song
05 The Boy Who Likes Horses
06 Father And Sin (Part 1)
07 Father And Sin (Part 2)
08 Politik Der Liebe (Politics Of Love)
09 Bateau Ivre
10 Deer And Fox (Piano Version)




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„Elegies In Thoughtful Neon” is the debut album of vocalist and media artist Mimu Merz.
This 50-minute journey guides the listener through melodies and song fragments intertwined with
organic textures and field recordings. The result is an album that effortlessly meanders between
musical poetry and matter-of-factness while managing to maintain an air of suspense and
excitement. This kind of effortlessness is apparent as she traverses an aesthetic Grand Canyon, often
multiple times within a single piece. One minute she intimately reveals her innermost fragile self,
only to transform into what seems to be a woman reading an instruction manual. The breadth of her
work proves itself in its very gentle an personal moments. Rattles and scrapes make way for hushed,
minimal piano notes which is enough to provide the backdrop for Mimu’s vocals. Loose clapping and
silently rumbling drums form a rhythm which threatens to fall apart at any moment. Her flickering
vocals are consistently attributed by creaking sounds, as field recordings gradually swell up to find
their place in the composition. Harmonic hints often times seem like fleeting scraps of sound which
eventually form a song. The entire framework is cohesively tied together by the electronic musician
and composer Peter Kutin who tastefully implements his sound designs and musical accents.

Everything that happens on “Elegies” happens in a refreshingly casual and unpretentious manner. By
the same token, every note, beat, stroke and ruffle makes perfect sense. And every sound, be it
computer-generated or otherwise, has the impact of an explosive device. Mimu sings her prosaic
lyrics about murder, manslaughter and mutilation in a very introverted and self-effacing way. These
dark themes are onomatopoetically accompanied by a choir.
Small and innocent sounds stand shoulder to shoulder with infantile brutality. Her brand of subtle
and sensitive pop creates scenarios in which harmony and tranquillity can easily be offset by a deep,
deep chasm. The closing track of the album is an original mobile phone recording of a piece by Deer
and Fox which has been interpreted by the likes of Ritornell/Karaoke Kalk and Clara Moto/Infiné in
the past. It is also the centrepiece of the album art which was created by Mimu herself. The artwork
shows deer in a glade. It captures that moment in time in which the hunter has taken his shot and it
is about to hit.

Mimu Merz’s versatility and prowess is undisputed. She is equally capable of elaborately textured
harmonies as sharp-tongued recitals. She conjures up intricate harmonies out of tattered sounds of
strings and vocals which briefly emerge only to collapse in the very next moment. Deeply melancholic
melodies of an almost Gaelic persuasion are recited with an emotive other-worldliness. Some of
which sound so haunting that the hair on one’s neck just might stand on end. This is by no means a
slick and polished collection of music. It is intimate and lyrical music free of common mannerisms
that thrives on the many small imperfections that others would probably try to gloss over.

The variety of collaborators on this record truly shows the aesthetically intriguing environment of the
young emergent experimental scene in Vienna. Avant-garde connects seamlessly with song writing,
kitsch and noise. Aside from Mimu herself, this undertaking was also spearheaded by Peter Kutin
who contributed to the electronics as well as the multi-instrumentalist David Schweighart and Martin
Siewert on the cigar box guitar. It seemed logical to form a new label for this record’s release: LISKA
(the Russian word for “fox”) is operated by Mimu Merz and Alexandr Vatagin.

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