“It's what I do that teaches me what I am looking for…” These words by Pierre Soulages, an artist with an insatiable thirst for research and exploration who cultivated one of the most beautiful paradoxes — seeking light in darkness — could have been signed by Frédéric Lo. A music lover never satisfied, melodist, lyricist, producer, arranger, he has long since developed a gift for ubiquity and a certain talent for ending up where least expected. In 2004, he became the “resurrector” of Daniel Darc by releasing with him the admirable Crèvecœur, one of those records that never ages. Some twenty years later, Frédéric Lo signs with the Englishman Peter Doherty the album The Fantasy Life Of Poetry & Crime, an instant classic. It was during lockdown that Frédéric Lo began working on L'Outrebleu. A period during which Frédéric was forced to give up the frenzy that seems to have guided him forever. On L'Outrebleu, he took care of almost everything. Could it have been otherwise for a record that is perhaps its creator’s most intimate, a record in perfect balance between “sweet sadness and melancholic joy”? A solo record, certainly, but a record that would never have seen the light of day without the alter ego François Delabrière, guitarist François Pioggio, singer Gaëlle Kerrien, former collaborator of Yann Tiersen, Robin Guthrie, of the legendary Cocteau Twins, and Clément Ducol, composer of the fantastic soundtrack to Jacques Audiard’s Emilia Perez. A record that knows how to be seriously light and lightly serious, a record of melodies to whistle everywhere; a personal record and a universal record.
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