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; a poetry 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 Other rather than just a live adaptation of The Waiting Room.
Paradoxically, by laying herself bare live on stage and by putting herself 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 tradition we won't detail the whole working progress, many of Chloé's ways of working are inexpliquable anyway. The mystery was perhaps obvious, a constant presence in the Waiting Room.
With One in Other does Chloé unveil more (of herself)? Perhaps... in any case she generously leaves us room to tell our own stories.
One in Other appears at the beginning to be an open album; not a compromise but rather the proof rather than the affirmation of difference; 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 Room came perhaps from the hesitation, the charm of One in Other is more assertive and comes rather from the taking of risks.
If The Waiting Room tries to push back the boundaries of the dancefloor One in Other couldn't care about these limits. People can dance if they want to... and for the length of the album Chloé the producer is in charge rather than Chloé the dj.
So the laid-backness of Slow Lane or the out-and-out psychedelia of Word for Word, are in their own way all part of the same story. And if One Ring Circus or Fair Game work 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 little 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].
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