A career of endless revisions.
Chloé has been involved in dance music for two decades, but the DJ, producer and composer has often seemed like an outsider. One track on her 2002 debut, Erosoft, was called "I Hate Dancing"; another was led by acoustic guitar. Subsequent releases for labels such as BPitch Control aligned her for a time with the minimal electro scene, but her music has generally evaded easy reference points. (She's as likely to express admiration for The Beatles and Claude Debussy as she is Kraftwerk.) It's simplest to say that she makes electronic music with a dance floor pulse and a ruminative feel.
Among Parisians, she's perhaps best known for her residency at Pulp, a club night for gay women at L'Entracte that also helped shape the careers of Jennifer Cardini and Ivan Smagghe. From there, she cofounded Kill The DJ, the label on which she released a mix CD with Smagghe and two albums, The Waiting Room and One In Other. In each case, the music was dark and electronic, but songs with guitars, live drums and spoken word vocals suggested a desire to push beyond dance music. In recent years, Chloé has done just that—alongside the Bulgarian percussionist Vassilena Serafimova, she performed a Steve Reich piece last year. More recently, she composed the score for the Lidia Terki film Paris La Blanche in collaboration with traditional Algerian musicians. Resident Advisor's Ray Philp met with Chloe to discuss these projects and her forthcoming third album, Endless Revisions.