In the artist's words:

Marie Klock learned the piano in the shadow of the flourishing bunkers and then lost it again. From 2014 to 2020, she played in bands, some of which never left their home basements, while others left a permanent mark on Klock's carbon footprint. Since then, she has been singing her own songs and accompanying herself with whatever she finds in attics. Her favorite topics are loneliness, insects and rats. In 2024, she paid tribute to the late poet Damien Schultz with music and screams(Damien est vivant) and indulged in the ultimate nonsense in a duo with the Turkish experimentalist Anadol (La grande accumulation); both albums were released on the Hamburg label Pingipung.

Télérama finds it difficult to assign them to a genre and says: "It's certainly not soft music, and the lyrics certainly aren't." France Inter describes her as a "UFO", while Gonzaï classifies her as "light years away from Taylor Swift's Colgate universe" and believes that "Marie Klock is slowly imposing a different way of listening to pop". She doesn't really know what she's doing herself, but people often refer to her as Katerine and Brigitte Fontaine, so, well, okay then.

Like everyone else, she's been in an existential crisis for the last few months, trying not to watch too much news, which isn't easy as a journalist (unfortunately, she is a journalist). What will she present on stage after this major self-reflection? Daniel Balavoine covers? A tambourine show? Anything is possible.