Live in Concert: L’Etrangleuse

Maël und Mélanie haben ungefähr das Gleiche getan, als sie sich kennengelernt haben. Sie haben Saiten gezupft. Sie spielt Harfe und er E-Gitarre. Sie haben Neues kreiert. Weder Rock, Weltmusik noch Folk, ihr Sound steht irgendwo dazwischen. L’Ètrangleuse möchte jetzt ihre Musik teilen. Harfe und Gitarre – eine interessante Verbindung mit ständig neuen Herausforderungen.
Maël Salètes and Mélanie Virot were doing pretty much the same thing when they met. They plucked strings. Not the same ones and also differently. She has played the harp since she was eight years old, the classic path, conservatory, chamber music. He first twanged an electric guitar with the grunge rock band, MacZde Carpate, followed by a few others, including Orchestre Tout Puissant Marcel Duchamp.

Here they are in the summer of 2008, each at a loose end, looking for the unusual. A sound. Harp and guitar together, both electrified. They had to try, fumble, develop. The combination wasn’t a sure thing. L’Etrangleuse (a name found at the last minute before the first gig) invented its material. With new ideas about the distribution of roles. Known to be soft and crystalline, Melanie Virot’s harp can be incisive, abrasive or dissonant. And Mäel Salètes’ guitar inversely takes a position that is less punk, more towards the African trance of Malian & Mandingo music.

Neither rock, world or folk, the sound of L’Etrangleuse has built bridges. The first album laid down the manifesto, with the addition of their voices accompanying the instruments, singing rather than songs, spinning words in the weft of the strings, holding the tension, suggesting atmospheres.

In testing their singular edifice in the crucible of the stage, the duo has forged an expertise whose limits are stretched by the new album ‘Memories To Come’. Advancing along the same tightrope, succeeding, mastering and venturing further. All of which was guided by the ear of the English producer John Parish (PJ Harvey, Eels, Dominique A, among others). It’s a question of noise and silence, of wandering and confinement, of identity (Who we are). Harp and guitar: A makeshift alliance, creative constraints and a constant challenge. L’Etrangleuse would now like to share its taste in playing in public and everywhere else. Mixed strings, responding, inciting the other to sound loud and better, together. /



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Ort Souterrain