Mimes of Wine: creativity is the lifeblood of the world
Music as an act of creation: we're meeting bands and artists asking for their approach in finding new paths of inspiration. Act 3: Mimes of Wine
Creativity feeds on everything: words and memories emerge from the music of Mimes of Wine as if from the depths of a dream, accompanied by a voice that is hard to forget. We met Laura Loriga - singer, pianist and soul of a project that grows between Bologna and New York - while her fourth album is coming to light.
Nick Cave once said: “Inspiration is not the sacred fire that comes down from the sky, but a need that must be nourished”. Do you feel the same?
For me, too, continuous dedication is the only way to get somewhere. What we create is a world that can be controlled only to a certain extent: only through constancy we give it the opportunity to come to us.
How would you explain your creative process?
I start from memories and stories, from people I've met or heard playing. The difficult part is to take ideas and memories beyond, to concretize them in something that is finished and real, while overcoming habits and expressive comforts. I could live a thousand lives and still have not enough time to do this as much as I would like to: that's why it's so important for me to keep seeing, hearing, looking at and reading the work of others. It's the lifeblood of the world.
What are the ideal conditions for you to compose?
Peace, loneliness and a good number of hours in front of me with nothing else to think about. In New York I was lucky enough to have a very small studio just for me: extending my arms, I could almost touch both walls. Books, some notes and photos on the walls, light coming in through a big window on a tree-lined street...
We can tell you are an omnivorous consumer of music, books and art at large: what's behind the imagery of your music, and especially of the album that you are completing?
I start from everyday life, with curiosity and with the good fortune of having people around me whom I have beautiful exchanges with. Lately, I've been taught a lot by All the things I lost in the flood by Laurie Anderson, Here is where we meet by John Berger and The magic lantern by Ingmar Bergman, as well as by the songs of Ed Askew, Circuit des Yeux and the guitar of Loren Connors.
What's your last fixation, in terms of sound? And how did you come across it?
In my last work I replaced almost all the piano parts with organs. I wanted to give more space to my voice: it's a whole new world and I'm very happy about it.