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 Gravel's movie "À Plein Temps". Her third album, “ROSE FLUO” (2024), 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, her tour celebrating her third album “ROSE FLUO” has since January been filling venues and festivals with scents of roses. By Cloé Gruhier.