There will be no evading the power and prowess of French electronic musician Chloé Herry aka CloZee, when she takes the stage at Earth Frequency 2019 as part of her Australian live debut next year.
A classically-trained guitarist, CloZee has parlayed her instrumental education into producing music under the broad umbrella of electronic and bass, finding her best fit somewhere in the field of 'world bass'.
From the cultural hub of France that is Toulouse, CloZee brings a classier breed of electronic music that can be inspired by almost anything, be it a painting, the weather or a dream. After traversing many continents with her music, it's with a great sense of excitement CloZee finds her way to Australia for the first time in 2019.
Before she gets here though, we check in with CloZee to find out everything we can and make sure we're ready for this sparkling gem to shine her brightest.
You released your debut album 'Evasion' in October 2018; have you been happy with the response so far?
Yes, I’m very happy, it’s been awesome so far. I think what makes me so happy is to see see how people are inspired by the tracks off the album, how they interpret them in their own art (by dancing, painting, flowing, tattooing etc.). Also, I’m super happy with the way the music videos have been received by the fans.
What was your creative vision for 'Evasion'?
The main theme of the album is 'escaping reality' (that’s what ‘evasion’ means in French when it’s related to music). I want people to travel to their own, secret places when they listen to it and forget all their worries. I composed the whole album in a few months, remembering some of the highlights of my past few years from touring, travelling, meeting new people, discovering new landscapes, nature etc.
Album aside, what are some other highlights of 2018 for you?
Playing at one of my dream festivals Electric Forest, and at Red Rocks this past summer. The Evasion North American tour in September and October. I played my new live show (with light/ laser show) and two-thirds of the shows were sold out. So it was a huge thing for our whole team. The remixes for Apashe and Senbeï as well.
You have musical roots as a classical guitarist; what guided you towards electronic music as a medium?
I started [playing] the guitar when I was 11 and the more I grew up, the more I was curious about discovering new music. When I discovered artists like Birdy Nam Nam, Amon Tobin, edIT, The Glitch Mob, Bonobo, The Flashbulb, it changed my life. At 16, I decided to buy a laptop and audio gear to record my guitar compositions and over the time, I naturally added some electronic sounds on top. The possibilities are infinite; your sound can always evolve and that’s what attracted me.
How does being a classical guitarist inform your composition, arrangement and production of songs?
I’m not sure. I think that’s probably why I like to put emotions in my music. I need to tell stories and that probably comes from being classically trained (and also by being a big fan of movie soundtracks). I also include a lot of organic elements/ real instruments. That’s what makes me vibrate the most.
How has your career and profile as a producer developed in the past few years?
I feel like with my last album ‘Evasion' I came back to my beginnings, my original feelings when I compose music. When I started to make electronic music (when I was like 18) I didn’t give a damn about trying to produce music for the dance floor. I just made the music I wanted, depending on my mood and emotions. This is exactly how I feel now again, but it doesn’t use to be like that.
When I started to play shows when I was 21, my music switched a bit on the heavier side, because this is what promoters would book me for. They don’t want to book someone who’s gonna play Trip-Hop or Downtempo (at least not from an unknown artist). I was more categorised in the 'Glitch-Hop’ and ‘Bass Music’ scene. I liked that period, but it was more to put my name out there, and get to tour in clubs. At some point, I missed the more melodic and ‘storytelling’ side of my sets and songs.
Since two years ago, I feel like I reached a point in my career where I could play more experimental, propose something deeper and more intimate to people, because the project has grown. I started to play more and more of my own tunes, and make tracks that are all a part of me.
You'll be in Australia early next year for festival shows including Earth Frequency; what can audiences expect from your set?
I’m super excited to play in Australia for the very first time! They can expect 90% original sets, almost live sets. I’ll have all my usual gear with me. I’ll just miss my guitar :(.
Do you have any expectations of what the crowds here will be like?
I don’t have expectations, I’m waiting to be there and experience that first moment with an Australian crowd. I just have the feeling that I’m gonna love it there. Now I just hope they will appreciate my music :).
Will you be taking some time off at the end of the year and enjoy a break over Christmas?
I’m going back for four shows in America, at the end of December (starting on the 26th of Dec) but the week before I’ll be spending time with my family.
After spending so much time during the year on tour and in the studio, what's an ideal holiday for you?
Leaving for a few weeks visiting different countries (warm countries by preference haha).
What's coming next for you in 2019?
I’m working on the music for a dance show with 2 dancers I love: Bboy Junior and Kalli Tarasidou. I’m also composing the soundtrack for an independent video game called 'Forest Of Liars’, by Umeshu Lovers. Plus lots of new tunes, remixes and gigs! :)
CloZee Australia Tour 2019
Sun 27 Jan - Rainbow Serpent Festival (Lexton)Sat 2 Feb - Harmonic Spaces (Byron Bay)
Sat 9 Feb - RE-GEN (Camperdown)
Fri 15 Feb - Shake The Dust (Melbourne)
Sun 17 Feb - Earth Frequency Festival (Peak Crossing)
