Lizzy Mercier Descloux: the life and times of a no wave progenitor
Of all the music scenes to arise from the underground of New York, the no wave movement is among the most influential, and also the most varied. Prominent artists in the scene ranged from avant-garde composers creating abrasive and intricate soundscapes to more palatable musicians combining experimental influences with a funkier, more dance-driven sound. Lizzy Mercier Descloux, on the other hand, seemed to be in her own league entirely – even within the non-conformity of the no wave scene.
Born in Lyon, Descloux relocated to Paris in her teens to attend art school, where she became instrumental in establishing the French New Wave punk scene. Alongside her partner Michel Esteban, Lizzy established the Harry Cover store, a beacon for punks in France, akin to Vivienne Westwood and Malcolm McLaren’s Sex in London. After bonding with proto-punk icon Patti Smith, along with Richard Hell, during a trip to New York in 1975, Descloux eventually moved to the Big Apple two years later.
Esteban, who would relocate to New York with Descloux, wasted no time in setting up the incredibly important ZE record label with Michael Zilkha. There is no doubting the fact that, without ZE, the no wave scene would never have reached its full potential. Releasing a plethora of fantastic records from the likes of James Chance, Kid Creole and Suicide, the label spawned both mutant disco as well as establishing no wave. ZE Records appeared as a collaborative effort between icons of the New York underground, both past and present. The likes of Patti Smith, Alan Vega and even John Cale had a hand in helping to establish ZE Records – the latter even called it “the best independent record label in the world” in a 1980 interview with Melody Maker.
Among the finest releases on ZE was Descloux’s debut album, Press Colour. With funky rhythms, minimalist production and her signature disinterested tones, the album presents Descloux as a true original. Press Colour is perhaps best remembered for Descloux’s mutant disco cover of Arthur Brown’s ‘Fire’. The unavoidable danceability of the track became synonymous with the French songwriter’s sound, which was evident on the rest of the tracklist, including ‘Wawa’, which would later become one of the no wave movement’s defining tracks.
Affirming her endless abilities in experimentation, Descloux also released the album Rosa Yemen that same year under a pseudonym. The album, also released on ZE, features much heavier experimental influences than the funk-driven Press Colour, though it often goes overlooked due to being released under a different name. Descloux’s innovative style followed her throughout her career as she began to incorporate much more wide-reaching influences.
Far away from the concrete jungle of New York, Descloux recorded her second album, Mambo Nassau, in the sun-soaked Bahamas. For the album, the songwriter wanted to record prominent South African musicians, but due to apartheid, she was forced to record the African-inspired tracks in Paris instead. These influences would be expanded upon with the follow-up, Zulu Rock, in 1984. Mambo Nassu also saw Descloux lean more into her funk and soul influences, creating an endlessly eclectic and danceable record.
Sadly, Descloux passed away in 2004 after a battle with ovarian cancer. She left behind an unrivalled legacy of musical innovation and experimentation. With her endless dedication to music, the French punk scene and New York no wave scene would have been considerably more dull. Over 40 years after the release of her debut album, her music still sounds incredibly fresh, perhaps as a result of the fact that few musicians have ever come close to replicating her signature sound.