ABOUT
BNOIR

SINCE RAISING
ITS UGLY HEAD

into the world, in July 2017, Bleek Noir has spat out 15 releases.

Favouring the EP format, but supporting these releases with singles and videos, “Fresh Born Animal (And I’m Not Sure Who I Am)” was the first EP to assault the public.

The second “The Garden de Sade” (a shamelessly dark and intense offering) was released on 02.03.18, to unanimous praise.

“Crude Hissings” followed on 26.05.18, featuring an interpretation of the American traditional “Black Betty”, and perhaps best synopsised by a quote from the Louder Than War EP review – “He’s back to mess us up again”.

The fourth EP “Temple”, was unveiled on 06.10.18, revealing the most accessible Bleek Noir to date.

An archive record of sorts, “Conception Tapes – Conceiving Bleek Noir”, the first release of 2019, featured the previously unreleased recordings that lead to the birth of Bleek Noir, and early versions of songs later re-recorded for the debut.

Summer 2019 brought with it a new single, “Don’t Stay Away”, which showed a sign of Bleek Noir never heard before. The “Throw Yourself Inside” EP, followed on October 26th, offering five tracks and a whole new sound for Bleek Noir. Gone are the electronic elements utilised previously, replaced by pounding Arabic percussion, and strung bass.

In 2020, as the UK was plunged into lockdown conditions due to the Coronavirus pandemic, the “I Am Unamused” EP was dropped on April 11th. Possibly the most direct Bleek Noir material to date, the four songs on this record are a clear departure. In stark contrast, “Bite Thy Pigty”, the second record of 2020, and another written and recorded in a locked-down UK, was released on August 1st. Best summed up by a recent review, this record is a window into “the wonderfully bizarre world of Bleek Noir”.

“Here, Hold My Other Ugly Face”, the first acoustic Bleek Noir record, was released on November 2020, and features a selection of acoustic reimaginings of previously recorded Bleek Noir songs. The third release of the year, and the third recorded under lockdown conditions, this five track EP harkens back to the music of Fox’s past, and presents an entirely different side of Bleek Noir.

SINCE RAISING
ITS UGLY HEAD

 

into the world, in July 2017, Bleek Noir has spat out 15 releases.

Favouring the EP format, but supporting these releases with singles and videos, “Fresh Born Animal (And I’m Not Sure Who I Am)” was the first EP to assault the public.

The second “The Garden de Sade” (a shamelessly dark and intense offering) was released on 02.03.18, to unanimous praise.

“Crude Hissings” followed on 26.05.18, featuring an interpretation of the American traditional “Black Betty”, and perhaps best synopsised by a quote from the Louder Than War EP review – “He’s back to mess us up again”.

The fourth EP “Temple”, was unveiled on 06.10.18, revealing the most accessible Bleek Noir to date.

An archive record of sorts, “Conception Tapes – Conceiving Bleek Noir”, the first release of 2019, featured the previously unreleased recordings that lead to the birth of Bleek Noir, and early versions of songs later re-recorded for the debut.

Summer 2019 brought with it a new single, “Don’t Stay Away”, which showed a sign of Bleek Noir never heard before. The “Throw Yourself Inside” EP, followed on October 26th, offering five tracks and a whole new sound for Bleek Noir. Gone are the electronic elements utilised previously, replaced by pounding Arabic percussion, and strung bass.

In 2020, as the UK was plunged into lockdown conditions due to the Coronavirus pandemic, the “I Am Unamused” EP was dropped on April 11th. Possibly the most direct Bleek Noir material to date, the four songs on this record are a clear departure. In stark contrast, “Bite Thy Pigty”, the second record of 2020, and another written and recorded in a locked-down UK, released on August 1st. Best summed up by a recent review, this record is a window into “the wonderfully bizarre world of Bleek Noir”.

“Here, Hold My Other Ugly Face”, the first acoustic Bleek Noir record, was released on November 2020, and features a selection of acoustic reimaginings of previously recorded Bleek Noir songs. The third release of the year, and the third recorded under lockdown conditions, this five track EP harkens back to the music of Fox’s past, and presents an entirely different side of Bleek Noir.

BLEEK NOIR

is the alias of songwriter, musician, producer, and recording artist Christopher J Fox.

Bleek Noir has developed a truly signature dark, dramatic, somewhat angular and emotive sound. Reviews have praised Fox’s lyrical prowess, and the power of Bleek Noir.

With seventeen releases under his belt, since the conception of Bleek Noir in 2017, Fox has amassed quite a discography of distinctive and compelling alternative music.

A prolific songwriter, Fox created Bleek Noir to be a studio animal, a vehicle for expression, experimentation, the wealth of material emanating from him and a way to explore publishing.

Touring professionally in various guises in the past, those familiar with Fox’s previous live work will know that his music’s intensity is not exclusive to his recorded works. However, with live performances both few and sporadic, explore the elusive Bleek Noir via its extensive catalogue.

WHO?

BLEEK NOIR

is the alias of songwriter, musician, producer, and recording artist Christopher J Fox.

Bleek Noir has developed a truly signature dark, dramatic, somewhat angular and emotive sound. Reviews have praised Fox’s lyrical prowess, and the power of Bleek Noir.

With seventeen releases under his belt, since the conception of Bleek Noir in 2017, Fox has amassed quite a discography of distinctive and compelling alternative music.

A prolific songwriter, Fox created Bleek Noir to be a studio animal, a vehicle for expression, experimentation, the wealth of material emanating from him and a way to explore publishing.

Touring professionally in various guises in the past, those familiar with Fox’s previous live work will know that his music’s intensity is not exclusive to his recorded works. However, with live performances both few and sporadic, explore the elusive Bleek Noir via its extensive catalogue.

WHO?