While blurring the line between aesthetics and transgression, Irène Drésel's techno breaks free from the norm with sophistication. Powerful, magnetic, the prism of her music unveils a luminous scenery. No escape is granted to her hypnotized audience ; bell chimes and incisive rhythms emanate from the rose-tinted secret garden of Irène and Sizo Del Givry, her percussionist partner, turning their live show into a pagan-like ceremony.
Like a mantra, her albums pay tribute to a metaphorical equation that has stuck with her since her encounter with contemporary art in 2003: "attraction + repulsion = fascination". “Hyper Cristal”, her first album, was the polar opposite of “Kinky Dogma”, released two years later ; “ROSE FLUO” is both the end of an odyssey and a cycle.
Being a polymorphic artist, wherever Irène finds herself – in the city, in the countryside, making film music as well as her own – her immediate environment and musical signature shine through and allowed for mythical collaborations (notably with Jean-Michel Jarre) as well as a César for Best Original Music in 2023 for Eric Gravel's movie "À Plein Temps".
Her third album, “ROSE FLUO” (released Jan. 26th), translates both a color and a state of mind in its name, cover, and 14 tracks, putting her audience through euphoria, hallucination and vertigo all at once. Following a sold-out Olympia and her performance at Stade de France for the closing ceremony of the Paris 2024 Paralympic Games, her tour celebrating her third album “ROSE FLUO” has since January been filling venues and festivals with scents of roses and will end with a concert at le Zénith in late 2025.
By Cloé Gruhier.
