Talking about « The Waiting Room », Chloés first album, is not an easy matter for us. Too early maybe. We would willingly get rid of the idea of a first album of electronic music as being a real difficulty. The gulf exists, certain fell in it, others not …. Chloé however is not even on the road that runs parallel to the gulf. What touches us about Chloé is that we don’t really know on which highway she’s riding.
Several milestones however ……. The Pulp and the Djing of course. Or the story of a discreet girl naturally imposing herself, and from the beginning showing herself to advantage and a sure value on the international electronic scene. A happy tale ……. It’s not very often that fragility and sincerity are “under the spotlights”. Not particularly ambitious, Chloé is just being herself, a disarming exposition of her weaknesses, which became in fact her force. How can doubt be a driving power ? Lets stop a minute on this story of doubt….. Chloé’s first productions on the Karat label for example. It was necessary to doubt for a rising DJ to produce a record like Erosoft. Wobbly, fragile, pop and poetic, practically going towards the danger of everything that may seem necessary, success for idiots. And yet, Chloé obtained immediate recognition from her equals : best clubs, biggest festivals.
One could easily think the her fragile music compensates the hard career of being a DJ. The solitude of hotel rooms, the coldness of airports, the intrinsic weariness. As if two Chloés existed : the international DJ, sure of herself, and the producer, expressing her interior fragility. But Chloé goes even further : DJ, producer, she also studies at the Academy of Music (Conservatoire), writes electro-acoustic music that she mixes, and composes music for choreographies.
In constant search of stability, fragile, among so many things : harmony/dissonance, repetition/rupture, complexity/spontaneity, body (dance)/spirit (dances also but…) je ne comprends pas la précédente phrase dans les parentheses electronic/acoustic …
Questions that not enough producers ask. Maybe we can consider in “The Waiting Room” as being the beginning of replies to questions, fragments (the word is too weak) . The record is first of all a solution to the equation , dear to us all : the maximum distance from the classical structures of dance clubs with infinite dance floors.
And Chloé also talks of things more intimate than they seem : love, with a big or small a, of the fantoms that haunt us, of finding happiness as time goes by, “Around the Clock” , death or far away countries. The text is the less erudite possible. Chloé wants to be touching and most of all not intimidate people. If she plays, mixes and diverts, it’s to avoid what actually touches nobody anymore : the forced experimentations of a hermetic electronic sound, the style of commercial pop dance music.
So we’re talking about emotions, but emotions that are shared with her public. One again, Chloé the discreet, risks revealing herself. An intimate album for a large public, it had to be done. We take our hats off to you Chloé.