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Chloé Thévenin has, without a doubt, led an entire generation to her electronic music playground – one that goes beyond strictly club and techno. She is a composer, meaning she gives life to an artistic idea.

Chloé has since ventured into musical analysis, working alongside with Ircam which opened her up to a completely different reading level, encompassing everything from electro-acoustic to the spectral school, ultimately enriching her sound palette.
She furthered this approach by revisiting Steve Reich for the "Variations" series for France Télévisions, improvising in duet with academically-trained Bulgarian percussionist Vassilena Serafimova.

Forever inclined to push the boundaries of her art, she gladly absorbs any and all innovations, such as 3-D binaural spatialized sound, as with her collaboration with Radio France (including the "Séquences" collection) and is also keen on (musically) dressing up fashion labels such as Courrèges or Hermès.

Beyond that still, Chloé Thévenin is the one who works today to set music to image.
The soundtrack of Lidia Terki's film "Paris La Blanche", notably led her to compose for the first time using the oral tradition of Kabyle musicians thus leading to improvisational ephiphanies. She was commissioned by the Cinémathèque Française for the music of Hitchcock's last silent film "Blackmail", as restored by the British Film Institute. In May of 2017, Chloé Thévenin composed the score for young Belgian actress Marie Kremer's first short film "Le Pérou", which was screened as part of the Talents Adami series at the Cannes Festival 2017.