Luxtress Talks “Kill Sex” And The Intersection of Pop Art and Political Resistance

Luxtress is a radical force that blends raw vulnerability with fierce political edge. Known for her glitter-drenched electro-pop soundscapes and provocative performances, the New York-based artist has carved a singular path from Portland’s underground DIY circuit to becoming a voice of resistance in the face of systemic oppression. 

Drawing on a wide range of inspirations—from chronic illness and feminism to the alienation of late-stage capitalism—Luxtress crafts songs that are as emotionally charged as they are danceable.

Her latest single, “Kill Sex,” channels a potent mix of personal rage and social critique. Inspired by the South Korean 4B movement and written as a response to the ongoing rollback of reproductive and LGBTQ+ rights in the U.S., the track is more than just protest music—it’s a visceral release. 

With pulsing beats and arresting lyrics, “Kill Sex” becomes a sonic weapon against patriarchal violence while giving voice to those who are often silenced. “Rage can be a powerful motivator,” Luxtress tells us, “especially when society suppresses it in anyone but cis white men.”

From early exposure to opera—thanks to her mother—to performing shock art burlesque acts in Brooklyn’s nightlife scene, Luxtress has long used her body, voice, and presence as tools for storytelling. In this interview, she opens up about her journey, the fight behind “Kill Sex,” and why pop music may be one of the most powerful platforms for revolution.

The first thing we want to know—for those who don’t know you yet—is how you got started in Portland’s underground music scene. How did your affinity for music begin?

My mother is an opera singer. Music has been a lifelong love for me. Some of my earliest memories are of seeing her perform or others and being in awe of what I was seeing and hearing and the beauty and feeling of it. I played cello as a kid and grew up hearing a lot of opera/classical through her, so I think because of all that exposure to music, “music” is weirdly embedded in my mind in a way I can’t really explain. As I got older, I began to develop my own tastes and musical interests and like to rebel against my classical mom, lol. I started listening to hip-hop artists and bands. Took a few guitar lessons, taught myself piano and eventually started writing my own music. I dabbled in musical theater and decided it wasn’t for me. I moved to Portland when I was 19 on a whim and started at open mics and was in several bands with friends over the years. It was fun—finding places to play was easy, tons of people had basement practice spaces in their houses, and forming bands was simple. None of us were really trying to be famous or accomplish anything other than making music and playing some shows; although I was so busy fighting poverty in my twenties, I didn’t get to do music as much as I really wanted.

Why did you decide to move to New York, and how did those years influence your career?

I was actually born here with my sister. My parents moved to Florida when I was young for financial and family reasons. I’d come to NYC once every year or two to visit family and was always fascinated by the city. My main motivation for moving was a love of NY and just wanting to be in a bigger, faster-paced city. The timing was right at some point, and I came in 2013.

Once I got settled—which took a while, working crap restaurant jobs and cafés—I met some other women and started a garage band called Pony Farm. We had the weirdest fun sound and were working on some very cool music. We went on a month-long tour and had some decent shows, but they both moved to Europe after that tour unexpectedly.

I took a break from music due to a bit of burnout from the band’s ending and experimented with performance art and burlesque, mostly performing at Bizarre Bar. It was exciting and refreshing for me. I liked to incorporate shock and gore into my act and costumes. Once, I did a sort of exorcism act where I vomited up black goo with a crucifix (real vomit) and drank it. People loved that sort of thing there.

After a year or so of that, I missed writing and started making music again as a solo artist, more pop/electronic-oriented. I liked the freedom making music alone gave me, i.e., not having to rely on bandmates. Music didn’t seem like a realistic career, although the idea appealed to me—just something I loved to do. I worked in the adult industry for many years as a Domme, etc., to pay bills, and after becoming a bit bored with that around 4 years ago, I decided I would pursue music more as a career since it’s the thing I most love to do. I’d like to blend all my varied experience into what I’m doing—performance-wise and musically.

Let’s talk about your single “Kill Sex,” which is a protest against the anti-women and anti-trans policies that prevail in part of society today. Was there a specific moment that triggered the creation of “Kill Sex”?

This country and its government have scared or angered me my entire life, but I’ve been in a state of near-constant rage these past months, hearing all the horrible things the Trump administration is doing or wants to do that would affect so many marginalized and vulnerable people. What’s happening in this country is also fueling a lot of hate toward trans people, women, the sick and disabled, and anyone who isn’t white. If you read the comment section almost anywhere online, you’ll see how rampant it is. The fact that in certain states people are already dying due to lack of access to abortion and that places like South Carolina are trying to make abortion punishable by death is some Gilead-level shit. I made the music first, and the lyrics came naturally. When I was ready to write them, I just heard “kill sex” in my mind and thought it was a cool lyric—and went from there.

What did you want to convey with it, beyond outrage?

It’s a song about rage in the face of some horrific realities. I don’t need it to be more than that. Rage can be a powerful motivator in the face of injustice, and I think our society suppresses rage coming from anyone but cis white men. Maybe I needed to give myself or others that permission to express anger and take up space. I do hope it’s motivational, fun, or validating for people who are being targeted right now.

You mentioned that “Kill Sex” was inspired by the 4B movement (which rejects marriage, motherhood, sex with men, and dating in South Korea). How did you adapt that idea to the American context?

Actually, it’s not my idea—Americans are adopting the idea, which I love. Although not to the degree they are in Korea, I find it to be a brilliant form of protest. In my opinion, much of the control that we see in countries that oppress women or LGBTQ+ people has to do with controlling reproduction and sex.

It’s a demand for change—of the system as a whole and of heterosexual men individually in patriarchal societies, who, as a group, could use it to do some real soul-searching and growing. If we don’t make your babies, your country won’t grow, and you won’t have access to us physically or emotionally. I believe Americans need to be unifying and organizing more effective forms of protest, such as countrywide strikes, and the 4B movement is a great example of an effective form of protest that will create change over time.

How do you hope it resonates with people in general, but specifically with the trans and non-binary community?

Music is so unpredictable, I find, and mysterious. But if I can make any woman, trans, or non-binary people feel validated, seen, and motivated to keep going—or even giggle and go fuck yeah!—then I feel good about that. I also hope it resonates with anyone who agrees with the message or may be feeling vulnerable or targeted. I didn’t plan the song to be about all these things; it came organically. But I hope it’s well received.

The video has a very visual aesthetic, dominated by red, blending with images of protests. Could you elaborate on the idea conveyed with this aesthetic and selection of images? What do they symbolize in relation to the song’s message?

Well, in my mind, it’s my personal protest song and video. I wanted to pull visuals from actual protests relating to women’s and trans rights. Some of the footage from commercials, etc., I found by accident, but thought they fit in somehow visually and made it feel timeless and more global.

The red and black made sense based on the sound of the song. I’ve had long COVID for years, and it got worse last year due to repeat infections, so I have to find ways to protest that work for me. I can’t usually go to a protest physically because standing for long periods isn’t doable—but I can make a video or write a song.

You’ve talked about how your music addresses feminism, capitalism, and chronic health. Do you think pop art can be a tool for evolution in these areas?

Yes, I think things can catch on. I don’t think any one person can do that, but ideas spread—and that’s how change happens. Any form of communication can create change, and music is communication.

What plans do you have for your next projects?

I’m releasing an EP of aggressive, house-inspired dance tracks using chopped-up, robot-generated voices I created online. The album is influenced by my experience of becoming continually physically damaged by a virus that most of the country would like to forget about—but I can’t, nor do others like me. All my money goes to weird treatments to get my cells to work, since no one under my insurance treats long COVID, and I’m pretty pissed off after the last few years dealing with all this alone. Conceptually, this robot-voiced girl I’ve created for the album is like a pissed-off, hot sick girl who becomes a vengeful bioweapon. Maybe she’s a cyborg? It’s been so fun to make. I love humor, and I think it’s got a lot of that and is super dancey. I’m also working with some talented dancers to create a live set that involves all these different concepts from my various songs and creates a story. I’m excited to try something different in a way that will respect my physical limits—having someone else do the hopping around on stage will be really helpful right now, and I think it’s going to be exciting for people to watch. Another full-length album I’m working on as well, although it’s still brewing.

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