A free electron of music, it is with the French public that the Swedish singer and musician, Isabel Sörling, has found her way. After a first folk and pop album produced by Ibrahim Maalouf, Something Came With The Sun, the artist multiplies collaborations with other artists of the jazz planet (Ibrahim Maalouf, Cabaret Contemporain, Paul Lay, Airelle Besson...) or more experimental music. She also develops her taste for indie-folk and avant-garde music. Her album MARELD mixes her desires and her multiple influences, a work of tribal and synthetic pop, unanimously greeted by the press and rewarded by the Victoires du Jazz in France in the category “Vocal artist” in 2021.

In her solo format, we hear her in her most refined, acoustic, raw dimension, in her folk songs rearranged for piano, guitar and voice. An artist who navigates freely between improvisation, folk and avant-garde, mixing vulnerability and mastery.

Quoting Stan Getz as his main saxophonist influence, Sylvain Rifflet gladly draws in the field of American repetitive and minimalist music to develop a writing mixing improvisation, repetition, rupture, bruitism and even sometimes trance. After the success of Mechanics, then his tribute to Stan Getz (Re Focus, 2017), his hypnotic ode to the music of the ancient poets of love (Troubadours, 2019) and his project around speeches of revolt (Rebellions, 2021), Sylvain Rifflet is back with a more personal work: Aux Anges. This album, which the artist considers to be his most accomplished, is dedicated to his loved ones, his “angels”, and to the personalities who have influenced and nourished him. We find references to American composers Steve Reich, Terry Riley, Philip Glass, but also Moondog, to the singer, composer and activist Abbey Lincoln, to saxophonists Stan Getz and Jon Irabagon, to filmmaker Claude Sautet, or to novelist James Baldwin.