“Great things always come from chaos”
Ever since his debut EP release five years back, Louis Warynski – otherwise known as Chapelier Fou – has wowed with his distinct fusion of contemporary classical sound with intricate electronic beats, bass and melody.
Hailing from the city of Metz in north-eastern France, he studied violin among other instruments at the Conservatoire de Metz from the age of six. Combine this with an insatiable thirst and obvious affinity for electronic sound equipment and you get compositions of great depth and contrast, engaging and cerebral. More recently he’s composed film scores, put together art installations and has even brought inspiration to the classroom with his vegetophone project, in collaboration with Ableton.
For the past year or so, Chapelier Fou has been working solid – and the end isn’t quite in sight yet. His third full LP Deltas is due to hit the UK shores on November 3rd, shortly followed by the man himself who will be playing at London’s Southbank Centre on November 4th. I recently caught up with Louis to discuss his new album , his inspirations and production techniques – and managed to clear up a few misconceptions in the process.
Showcase #009 features a strong selection of audiovisual pieces, created by artists and producers from wide-ranging backgrounds. Projected imagery set to music inspired by the 1853-56 Crimean war, an arduously-crafted stop motion animation piece and visuals created entirely via code and executables are but a sample of what’s in store. Prepare to be engaged… Continue reading
This is a beautiful electronic composition from Lapti. In this piece, presumably an amalgamation of separate live pieces given the #LIVE tag on SoundCloud (and it’s title – Index), mysterious drones and ever-present pulsations of bass offer a satisfyingly cerebral experience. As a stand-alone track however, it could be said that Index is split into multiple movements, each of which initially adds to the previous section before steering the sound away entirely.
Its hazy overtones create gritty texture. The transitions and the differences between each part allows for a range of atmospheres — though of course we only get windows into each; no single part is explored to great depth. In this transience lies further beauty, perhaps reflective of the unrelenting march of time. Whether it is or not, these six minutes of sound are certainly worth your ears.
Check out Lapti via…
Twitter | Facebook | SoundCloud
There’s a justifiable trend these days as producers deliver their work with unique tangible twists. The CD for Hiatus‘ Parklands, for example, comes with two coloured triangles used in the video for Can We Be Ghosts Now. The Octopus Project offered a deluxe bundle of treats to go with the Fever Forms LP, including a t-shirt designed by the yellow guy from Peelander Z and a 3D viewfinder.
London’s Antwerp, however, takes a more multi-sensory approach. His latest release Parallel Sphere (Noise Praise) comes on a USB pen drive, set inside a tactile lavender-scented box, offering an experience in touch and smell as well as sight and sound. Potentially taste as well, if you don’t mind eating cardboard.
Antwerp‘s outside-the-box thinking carries through in his approach to music. Because of this, I’m very excited to share the third in the Soniscope Guest Mix series — slightly longer in length than the previous two. In #003, Antwerp peppers an excellent selection of tracks with samples extracted from Aldous Huxley’s Brave New World. The mix also contains two unreleased tracks, Ekoda Map‘s Hadar and Antwerp‘s Music for Jostling Commuters, the latter heralding plans for a new conceptual EP set for release next year.
Daisuke Tanabe – Paper Planes
Mernau - Tumble
Antwerp - Music for Jostling Commuters
Rob Clouth – Cloud Complex
Garden City Movement – Terracotta
Ekoda Map – Hadar
Gilligan Moss – Hemlock
Leem - Swings & Roundabouts
Yosi Horikawa – Interlude
Dvo - Boom
Koloto - Mechanica (Dot Remix)
Deru - Straight Speak
Encym - Square & Round
Submerse - Sayz U
Beat Connection – Another Go Round
Patricia - Four Fingered
Lee Gamble – Helicopter
‘O Brave New World, That Has Such People In’t’
Check out Antwerp via…
Twitter | Facebook | SoundCloud | BandCamp | Vimeo| Tumblr
Check out Noise Praise via…
Twitter | Facebook | SoundCloud | Tumblr
I love a good remix. They seem to opens up a temporal window into their world of sound, and how they perceive the sounds of others compared with their own. The progression of this track, however, is a little more convoluted. What Montréal-based producer Johnny Ripper reworks is actually a cover of Majical Cloudz‘ Bugs Don’t Buzz by Athylia. A musical Chinese whisper.
Though the cover isn’t available to compare (sadly), little snippets of the original piano melody shine through Johnny Ripper‘s piece. Upon it, he imbues his distinct placidity with plentiful glowing warmth from the bass. Abrupt breaks split the piece into three, each part growing over the efforts of the previous. Soothing vocals fade as distorted noises rise, forming a blissfully asphyxiating wall of sound before everything fades away into the ether.
For more of Johnny Ripper‘s work – including a fantastic conceptual film-album released earlier this year – head on over to his BandCamp page via the media links below.
Check out Johnny Ripper via…
Twitter | Facebook | SoundCloud | BandCamp | Last.fm | Tumblr
There’s a few recognisable names knocking around in Showcase #008, offset by work from producers who, though arguably lesser known, well make up for this in the quality of music they produce. What ties them together is that their work has been paired with the visions of another through video. What follows is a small selection of the audiovisual excellence produced over the last few weeks… Continue reading
Given how this track was responsible for stoking personal fires of lexical inspiration and general motivation, it seems almost sacrilegious to not share it. The initial attraction of Pavel Dovgal‘s Faust is in the powerfully sombre string arrangement at the start (reprised throughout), which swell to introduce nebulous kicks as part of a steady 4/4 beat.
The rest of the track strikes a balance between imperceptible falsetto vocals and deep rumbling synths, the only clarity being in the strings, the beats and the occasional bleak utterance of ‘Faust‘. Taking this ominous folkloric motif into account, repeated both through title and composition, one has to wonder what moral integrities Pavel Dovgal had to sacrifice to produce such a belter.
Finally uploaded to SoundCloud, this track initially opened the B-Side of Project Mooncircle x Finest Ego‘s first ever installment in their 12″ Faces vinyl series three years ago. Granted, the Soniscope ethos is to find contemporary future-leaning beats, but this track has remained way beyond the curve since its release – and this resurgence only provides further proof of its timelessness.
Check out Pavel Dovgal via…
Twitter | Facebook | SoundCloud | Myspace | Last.fm | Official Website