Kill the Klichés: The relentlessness will last as long as the misunderstandings last. By Chloé Thé-
venin, the distracted will have retained what? Feminine discretion? The sobriety of a
dj who is supposed to belong, from afar, to the minimalist fraternity? But still… Perhaps
the only thing to know about Chloé can be summed up in one line: her music (the music she composes),
the one she mixes) desires only one thing:
That you don’t know what to dance to anymore. Some really took the extent of
of her talent in 2007, when The Waiting Room was released: a debut album
rence of a musician who had taken her time. In this « waiting room », the cate-
categories, boxes and labels had melted like snow in the sun. Minimal what? electro
Who? Lo-fi how? Pop, really? We don’t know anymore. And there were many of them
want to know (the album was a hit with the public, and was acclaimed by the entire
international press).
In 2002, Chloé released an unexpected maxi on Karat: « Erosoft ». The complete opposite of what
in terms of hits (we were in the middle of an electroclash… and she was rocking it!
a handful of lo-fi songs). She hit the nail on the head in 2004 with a mixed compilation
compilation entitled « I hate dancing ». The EPs « Take Care » and « Sometimes
« marked the era. Weekend after weekend, the best clubs offered her a place on the bill.
as well as festivals (Mutek , Montreux Jazz festival, Benicassim, La Route du
Rock, Marsatac, Sonar…). During the week, Chloé takes electroacoustic classes at the conser-
vatoire: this is not a retreat into research music, but a bridge to her own
research.
Since 2004, she has been creating mixed electro-acoustic pieces for double bass or for
flute. Since then, she has been collaborating with choreographers as a matter of necessity,
performers and filmmakers.
Be in it all the time, don’t let go, don’t scatter, draw. The genre is com-
plicated…. perhaps, surely. Chloé’s has the priceless value of those who perceive themselves-
always in motion.