Release Date: 26 March 2012
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About the album

After three EPs, one album (613) and about a hundred concerts among which, some of the most prestigious festivals, the career of Chapelier Fou, aka Louis Warynski is now taking him about everywhere in the world (Europe, Australia, Canada, China, New Zealand, Mexico…). Over a short period of time, the outstanding complexity and rare song-writing work hidden behind his elaborated and catchy melodies have revealed this mix of electro and more classical instrumentation, and established it as one of the most intriguing hybrids of the recent years.

Following 613, a stroll walking the listener around a singular, yet still underconstruction world, Invisible now lets us literally take off to an ever-changing land. Where the music’s emotional harmony was once frail, it appears unquestionably more stable today. As usual, the melodies, perhaps more melancholic now than ever before (‘Fritz Lang’, ‘Cyclope and Othello’), were treated with meticulous attention, even if the work over rhythms often comes first in the Metz-born 28-year-old’s creative process.

Continuously exploring the infinite potential of computers, Louis gives free rein to his spontaneity, using violin, guitar, but also an increasing number of vintage synths. An almost disconcerting outcome results from his constant risktaking – Chapelier Fou keeps questioning himself rather than releasing ever the same patterns. But the central elements that forged his style are still here to be found.

Matt Elliott, once again lending his voice to one of the songs (‘Moth, Flame’), and Gérard Kurdian (This Is The Hello Monster), to the the single ‘Vessel Arches’, both add to the various atmospheres and emotions, making Invisible sound particularly rich.

The numerous concerts given around the world have marked the musician, leaving sounds, clues and messages hidden all across the record, shaping a very mysterious ambiance, and making clear that this time, Warynski would draw inspiration from encounters, experiences and travel (a quick look at the songs’ titles is enough to tell that, once again, each of them hides a central concept, and that definitions and meanings will have to be wormed out of Louis). Interchangeable, the artwork superimposes shapes, images and colours… As if echoing a career growing global, Chapelier Fou’s music tends to sweep frontiers away, speaking a universal language, that of emotions and sharing. And it is with utter pride, it has to be said, that we expand our catalogue with this album, a gift for Ici d’Ailleurs’ 15th anniversary.