The thrill of impermanence and a rush of adrenaline not only get along, they describe Daisy Mortem very well; they’re irreverent and they’re very sharp. They defy their scene as they evoke, with a cyberpunk twist, the eighties.
A slight bouquet of Sisters of Mercy and Nine Inch Nails looms up now and then, along with a deranged reminiscent of Space Disco… the result is a futuristic nightmare as catchy as lucid dreams. L’amour le SIDA is violently jolly and their first single too; these two elements (love and AIDS) are part of the same deadly game, a game that taunts you into full speed: death shouldn’t be taken so seriously since it’s a vital part of life. Distance Horizontale follows, with a dramatic flow that gradually persuades you, along the emptiness and the cold, into a contemplative state of mind that slowly gives away the atmosphere of the early hours of the morning along with a loud sense of silence. They are so playfully delirious; La vie c’est mort is perfectly addictive, they have a rather glamorous way of being aggressive, a sour way of being sweet; there's a clear influence of punk and industrial music, even though they don’t care for labels. As their EP comes to an end with Le grande espace, a dark urge, that I could easily place on a David Lynch film, takes hold… They are currently working on their first full-length album, and they are hungry for more.
-Tell us, who is Daisy Mortem?
Daisy Mortem is basically Sam (Barbier) and me (Denis Dedieu) as musicians and producers. I’m the lead singer, but we’re equally involved in the artistic process. We created Daisy Mortem recently, as the band we really wanted to be after 10 years of working together in different projects and bands we formed with a few other collaborators. We started making music at 11, 12 years old. Daisy Mortem is the result of a 10-year creative process where we were searching for who we wanted to be and what we wanted to do as musicians and artists.
-You seem to go wild during live performances, tell us more about these, about the scene and the audience over there.
Well, I always enjoyed doing unusual things to get attention from others. Sam loved to break things and get adrenalin. So we were horrible children in our neighborhood (laughs). As a teenager, I got in trouble with a few people, sometimes with cops, and I got indefinitely expelled from my middle school. Step by step, music became more and more important to me; I put all my anger and energy into live performances. When we were playing with other teenagers’ bands, we stood out from them because we were wild and cheeky, always trying to break the rules and getting people more and more excited. So I worked on this, and I’m still working on how to convert this evil energy into art. It was a natural evolution. We really get into trance now, during our shows, I’m trying to arrive at that point where I can lose control. It’s very physical.
I’ve never seen so many people doing this in France. I’ve learned a lot being on tour with JPEGMAFIA, he’s a beast on stage, seeing him every night was really inspiring. I was like, ‘fuck, I met someone wilder than me, I need to work more and more!’ (laughs).
-Tell us more about this brand new album, you were in another project before, Iris Von Gul, and it sounds completely different.
Like I said, Daisy Mortem is just what we want to do now. All our previous bands were more about digesting our influences. Iris Von Gul sounds a lot like all the things I had listened to when I was younger, from Mike Patton to Nine Inch Nails. But to a point, it felt like we had to do something more personal and modern. We want to talk to people right now, to do shows with actual bands, to invent something new altogether; to find the unknown in ourselves to create something new with it.
To sing in French was an important part of this process: with my source language, I can’t hide myself from auditors and crowds. I have to assume my lyrics to stop being afraid of who I am; to stop acting like someone else I admire. I have to admire myself enough to be this guy that could maybe inspire other people then.
Well, about this album, it’s very dancy and pop and funny, but in a weird way. It was a way to cut the cord with our past. The next one will be very different, very radical, and absolutely dark. It looks like we never cease to come back to the past (laughs).
-Please tell us more about your first single, L’amour le SIDA and its video, it’s as delirious as it is fun!
Well, it’s one of the most groovy songs of the album. The title means « Love and AIDS ».
I’m just talking about this horrifying and awkward feeling when you just had unprotected sex and it was great but, well, maybe you will die. This is one of the worst feelings ever. It’s strange how some of the best things in life can also become the worst. How love can lead you to death. Whatever, this song is about this feeling. The video is just a metaphor with a road, explosions and burning cars: if you don’t pay attention, if you think you’re invincible, you’ll probably have a terrible accident, so take care of you and the others. It’s a positive message; even Christians can’t censor this one. It could be used in schools for prevention, maybe.
-Distance Horizontale is probably the darkest track from the album, what’s the story behind it?
This one is about being far from your lover, and the questions you keep asking yourself, like, will she/he come back; what she/he’s doing; maybe everything will be ruined; maybe you’re not as good as you think; all that shit. Finally, all the tracks had the same thematic. The whole album is about contrast and paradox. This one is about the paradox of being in love, that makes you, at the same time, very powerful and very vulnerable. Sometimes you can hate love because of this if your goal is to be full-time powerful.
-What inspires you? Not only musically, but visually too, your image is rather interesting.
We’re not so good about visuals. We’re working on this. It’s very DIY. The video for « L’amour, le Sida » is a hybrid editing of different green screen shit I found on YouTube. For costumes, artwork, and photography we worked with the visual artist Charlotte Pouyaud. She had really original and great ideas. We will work together on new videos soon. We are just trying to find our way to exist visually. I just don’t want to be bored with my own videos and visuals. We try to be creative on every side.
-I’ve grown addicted to La vie c’est mort, please tell us more about it!
Basically, it’s a song about how death is an important part of our lives. But it’s a very happy song because the main point is that, if you’re afraid of dying, you’re afraid of living, so if you’re afraid of death your life will just be a slow agony. Being afraid of dying makes you feel dead. So, let’s love death and life and let’s do our shit. No time for being afraid.
-What’s behind the ending track of the album, Le grand espace?
I don’t want to sound boring but it’s basically the same. It’s still about how, in front of pain and suffering, in front of that dry blood on our streets, we should just know that nothing really matters but love and energy. We’re making art to bring love and energy to people and to create these feelings with them.
-What lies ahead for Daisy Mortem? Any last words?
Well, touring, touring, and touring. We want to go everywhere, play with everyone, meet everyone. We’re actually recording our next album. We hope to release it in 2019, and its first extracts around October. Thanks for this interview! No last words but infinite love.
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