dj-chloe.com
killthedj.com
discogs.com/artist/Chloé

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New Album in May



"One in Other"
ktdjcd008 (kill the dj records)


1. word for word
2. diva
3. distant
4. the glow
5. one in other
6. you featuring chris garneau
7. one ring circus
8. fair game
9. slow lane
10. herselves
11. ways ahead



Perhaps it's even more difficult to talk about One in Other, Chloé's new album, than The Waiting Room, her first lp. It is not always easy to find the necessary objectivity. And one doesn't really want to repeat all over again the same things that were said before: her desire to reconsider what is 'danceable'; a barely unveiled intimacy; apoetry of ghosts... all this is still apt although now part and parcel of Chloé's personage. Does the listener want to go a little further, see things differently? Of course, as Chloé wants to herself.
The Waiting Room has established itself over a period of time, and despite, or perhaps because of it's radical introversion, it has imposed Chloé as a producer. But she has never been content to just accept a given role. She has never stopped moving, not content to rest in a particular direction or assigned position, remaining ouside the comfort zone continuing her own personal experiment.
So it is perhaps in the transcription "live" of The Waiting Room,the experimental transmission of the intimate, the origins of One in Other can be found.The stage has allowed Chloé to venture past her own beautiful fragility, to consilidate the fractures of the first album and left her free to explore other cracks in the mirror. Her live show was the rehearsal for One in Otherrather than just a live adaptation of The Waiting Room
Paradoxically, by laying herself bare live on stage and by putting her- self in a dangerous position voluntarily, Chloé is able to assert herself more. Avoiding the cliché of 'maturity' (maturity is one foot in the grave...?) but rather a question of confidence. In keeping with tradi- tion we won't detail the whole working progress, many of Chloé's ways of working are inexpliquable anyway. The mystery was per- haps obvious, a constant presence in the Waiting Room. With One in Otherdoes Chloé unveil more (of herself)? Perhaps... in any case she generously leaves us room to tell our own stories.
One in Otherappears at the beginning to be an open album; not a compromise but rather the proof rather than the affirmation of differ- ence; the sincerity of the experimental will touch every listener. That nakedness = emotion, is obvious but one still needs the arms and the courage to suceed. The charm of the Waiting Roomcame perhaps from the hesitation, the charm of One in Otheris more assertive and comes rather from the taking of risks.
If The Waiting Roomtries to push back the boundaries of the dance- floor One in Othercouldn't care about these limits. People can dance if they want to... and for the length of the album Chloé the pro- ducer is in charge rather than Chloé the dj.
So the laid-backness of Slow Laneor the out-and-out psychedelia of Word for Word,are in their own way all part of the same story. And if One Ring Circusor Fair Gamework as "mechanical" club tracks it's because they are not trying too hard to be so, as if instinct took control over function. One in Other, is also a bright light of pop, less dimmed and more directional than before. The singing is just that no longer a murmur, the guitars are more present and the drumming thrusts its head into the picture [Distant, Ways Ahead].
Chloé dares her hand at a slow [One in Other], which suddenly seems destined for her; likewise her guests [ Chris Garneau, folk's lit- tle prince, on You, and the operatic singing on Diva].
Finally we can only admire the coherence of One in Other where so much space has been left for exploration, the ever present internal/intimate, [one in the other, one in another] added to which is the exploration of the world, of others [one after the other etc]. Chloé'snew album will be out in soon. She is currently working on a live collaboration with the visual art collective "Transforma" and will perform on stage with the choreographer at the Montpelier Dance Festival on the 28 June.

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Chloé - Live at Robert Johnson Vol. 1 - New Mix CD on January 19, 2009



After her acclaimed debut album "The waiting room" (Kill The DJ, 2007) Electro-minimal queen Chloé will inaugurate Robert- Johnson's 2009 mix series.

The DJ/producer has been tapped by the Offenbach club to begin what will be a four DJ mix series of RJ residents. Set to produce mixes next year will be Prins Thomas, Liquid (Thomas Hammann and Gerd Janson) and Ivan Smagghe. The CDs will be able to be placed in the snazzy 12-inch-sized sleeve pictured to the right, with each mix available separately. Here, Chloé shows her very personal vision of a night at the "Robert Johnson"- a night, where it doesn't matter where you come from, what you normally listen to and what scene you belong to.

Tracklist Chloé:
01. Gudrun Gut - Rock Bottom Riser
02. DJ Koze - Mariposa
03. Kalabrese - Makelovedisco
04. SIS - Orgsa
05. Shinedoe - Phunk (Steve Angello re-edit)
06. Partial Arts - Cruising
07. Samim & Michal - Circles
08. Vincenzo - The Phantom Image
09. Daso & Pawas - Ice
10. Heiko Mso feat. Malte - Reach
11. Plein Soleil - Casus Belli
12. Larry Heard - Spinal Tap
13. Trulz & Robin feat. Baseman - Turn My Head
14. Homebase - Centrino
15. Seventeen Evergreen - Music Is the Wine (Joakim remix)

Robert Johnson
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Talking about Chloés first album, "The Waiting Room" is not an easy matter for us. Too close to home maybe. We would also like to brush aside the idea of a first album of electronic music as being a real difficulty. Such a trap exists, some fall into it, other's don't. Chloé however is not even on the road that runs along side the trap. What touches us about Chloé is that we don't really know which road she's taking.



kill the dj records
title the waiting room
format album cd & vinyl
cat. no. ktdjcd 003


A couple of milestones however... The Pulp and the Djing of course; or the story of a discreet girl naturally imposing herself on the international electronic scene. A rather beautiful story; it's not very often that fragility and sincerity are "under the spotlights". With no other ambition than to be herself, disarmingly exposing her weaknesses, which become her force. So doubt can become a driving force. About these doubts... Chloé's first productions for the Karat label for example. It was necessary to doubt for an up and coming DJ to produce a record like Erosoft. Eratic, lo-fi, poppy and poetic, going against everything that could be perceived as requirements for success for idiots. And yet, Chloé obtained immediate recognition from her peers: the best clubs the biggest festivals.

One could easily think the fragililty of her music is the counterpoint to the toughness of a Dj's career. As if two Chloés existed : the international DJ, sure of herself, and the producer, expressing her inner fragility. But there is much more to Chloé than that; she also studies at the Academy of Music in Paris, writes electro-acoustic music and composes original music for contemporary dance.

In constant search of a stability, fragile, among so many things: harmony/dissonance, repetition/rupture, complexity/ spontaneity, body/spirit, electronic/acoustic...
Questions that not many, or enough producers ask. Maybe we can consider in "The Waiting Room" as being the beginning of replies to such questions. 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. [see fig.1] Making heads spin instead of nodding in conformity, there's a healthy attitude.



fig. 1.
The maximum risk-taking of the Dj [T] being dependant on the relation between classic club structure [C] and experimentation [e] while keeping an entity whole,
D [to be called dancefloor] filled. In a perfect world, T will become infinite...

And Chloé also reveals intimacies deeper than they appear: love, with a big or small, the ghosts that haunt us, finding enduring happiness "Around the Clock", death or far away lands. The text is in the form, the least erudite possible. Chloé wants to touch, not intimidate people. If she plays, mixes and diverts, it's precisely to avoid what touches nobody any longer: the forced experimentations of a hermetic electronic sound, a formulised commercial pop dance music. So we are talking about emotions, but emotions shared. Once again, Chloé is risking [big] revealing herself little by little. An intimate album for a large public, it took guts to do it. Bravo.