Neither rock, world or folk, the sound of L’Etrangleuse has built bridges. Harp, guitar and jeli n'goni : a makeshift alliance, creative constraints and a constant challenge.
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’Étrangleuse (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 or Jeli n’goni inversely takes a position that is less punk, more towards the African trance of Malian & Mandingo music.