Buscar:vassilena serafimova

French electronic producer Chloé teams up with Bulgarian percussionist Vassilena Serafimova for their debut collaborative album "Sequenza". The duo first met in 2017 and then started working together at Xavier Veilhan's Studio Venezia. The result is his dreamlike & harmonious collision between Chloé's electronics & Vassilena's marimba.

Auf dem Album "Bach Mirror" geben der französische Pianist Thomas Enhco und Marimba-Spielerin Vassilena Serafimova bekannten und weniger bekannten Werken von Johann Sebastian Bach einen innovativen Klang

Shape of the Unknown’ is kind of a double LP that fully embraces the idea of exploration. It is CHLOÉ’s most expansive and immersive work to date. ‘Shape of the Unknown’ is CHLOÉ’s fourth proper studio album. Its predecessor, ‘Endless Revisions’, was released in 2017. Nine years have passed. Nine years during which CHLOÉ has continued digging for music, DJing at internationally renowned clubs and festivals including Rex Club, Robert Johnson, Panorama Bar, Nuits Sonores, Glastonbury and many more, releasing EPs and remixes, while also allowing herself the time to explore entirely new creative paths.


The challenge is to capture the unknown, make it her own, endlessly reshape its textures, and ultimately preserve its mystery.


The first single ‘Drifter’, released back in June, already offered a striking glimpse of the sonic territories the album would venture into, driven by its hypnotically contoured basslines. The album's two other singles offer different windows into her world. 'Shapeshifter' captures CHLOÉ at her most hypnotic, balancing stripped-back techno and melodic house through deep rolling grooves, expansive bass chords and subtle rhythmic shifts that constantly reshape the listener's perception without ever disrupting the flow. Later, 'Repeating The Obvious' takes a more leftfield route, pairing staggered rhythms with retro-inspired harmonics and an understated indie dance pulse that feels simultaneously familiar and unpredictable.
CHLOÉ has ventured into live performance through new formats, notably alongside percussionist Vassilena Serafimova; immersed herself in film scoring with soundtracks for Paris la Blanche, Arthur Rambo, The Mountain, Blanquita, Guru and Unsubmissives; and developed compelling collaborations, from High Season, her project with Ben Shemie of Canadian band Suuns (which resulted in the album The Call), to her own organic, experimental audiovisual performances under the name Slo/Mo AV.


Throughout Shape of the Unknown, CHLOÉ blurs the boundaries between deep house, hypnotic techno, electronica and cinematic sound design with remarkable fluidity. The album unfolds as a continuous narrative rather than a sequence of tracks, moving effortlessly between beatless ambient passages, rolling analogue grooves and emotionally charged club music. Organic percussion, sweeping bass movements, melancholic harmonies and richly textured synthesisers create a body of work that constantly evolves, where no section feels static and every transition reveals another layer of depth. There is an unmistakable warmth running through the record, with grainy analogue textures and spacious production giving even its most driving moments an intimate, almost tactile quality.
The album’s title is no coincidence. It evokes a form that has yet to be named, something language itself struggles to grasp. CHLOÉ approaches it through an organic creative process. Each piece must first be performed in the studio, almost as if it were being played live. The album will be followed by a series of live performances and DJ sets, including a show at the Olympia on March 18, 2027.


She is joined by a handful of steadfast collaborators. Jazz trumpeter David Enhco appears on two tracks, ‘Undertow’ and ‘Inner Bass’. But above all, there are the voices: Ben Shemie lends his unmistakable presence to the radiant ‘More Than Just a Feeling’. Olivia Merilahti, singer, songwriter and one half of The Dø, appears on the otherworldly ‘TWYR’. Working with Olivia’s already hypnotic voice, CHLOÉ has approached it like a sculptor, enhancing its strangeness and dreamlike quality.
And finally, impossible to miss is the instantly recognizable voice of Kittin. A longtime accomplice, she lends her distinctive phrasing to CHLOÉ’s music here for the very first time. The strongest collaborations are often those that take their time, arriving only when the moment is right. Same kind, same bass, same vibe, same pride.


The result is an enigmatic, nocturnal record, drifting between introspective listening and dancefloor functionality, revealing an artist who remains far more interested in atmosphere, movement and emotional storytelling than conventional club structures. It is an album that invites us to dream more deeply and to dance again, both within ourselves and out in the open.

An artist who deliberately plays with labels, taking in contemporary and novel forms, boldly launching into experimentation (as demonstrated by her collaboration with percussionist Vassiléna Sérafimova), Chloé wanted to take the album’s tracks and transform them in front of an audience by feeding them with new textures and inspirations. Performed over a year at events such as Nuits Sonores, Sónar, Mutek (in Montréal and Mexico), The Peacock Society, and festivals such as Marsatac, Musilac and Colors of Ostrava, Endless Revisions’ live performance has evolved with every show. It was out of the question to let these new versions - replayed, recreated and restructured alongside the evolution of the performance’s very architecture - fade away without a trace Chloé’s prolific Lumière Noire label, in the wake of its first anniversary, had to produce a recording that bears witness to the work that these ephemeral creations represents. Slowly introduced by Dune, then propelled by the impulse of Because it’s There, the mix is articulated around the appropriatelytitled Outerspace, followed by Party Moonster and the bewitching The Dawn, heard here in “clubbier” versions and adapted to a context in which the audience (whose enjoyment of the performance was audibly captured in the recordings), must be kept in suspense, as if carried away in a narrative. The set leads up to Moonscape, an exclusive track created during the performance series, before the performance ends with a new version of Sometimes, Chloé’s relentless 2002 instant classic. At nearly 50 minutes, this recording is like a snapshot of a work’s vital momentum, remaining faithful to the spirit of Chloé’s Endless Revisions while detaching itself in order to conquer new territories. It is what music must also be: a moving creation that is activated and reacts in contact with its audience.