MUSIC
REVIEW QUOTES
On his recent “Temple”, Bleek Noir has done well, on this 4 Song EP-esk album. I don’t think you can really say they are 4 songs, but 4 distinct views of an emotion, a thought, a feeling, a dream or possibly a nightmare, one continuous song, or play in 4 acts, a thought that is dissected and stitched back together like a Frankenstein’s Monster of Music, the Guitarist’s Black Mass.
If only Peter Greenaway were looking for a new soundtrack for one of his decadent creations… he twists and distorts his visions in yet more oblique and abstruse directions. Liek Baron Frankensten, he’s patching from hither and thither in slowly creating his monster. [And from “I Smell Murder] the key phrase that should be marked in the annals, or even on the Bleek Noir tombstone – “When I do anything I do it dark.” Classic noir-ism. Hello and welcome to sleepless nights.
The Garden Of Sade is the second EP from Bleek Noir, a journey through the dark, twisted creative mind of one man, six songs that could you imagine soundtracking an improvised theatre piece… [It] hurtles headlong, pregnant with dramatic tension, through words that feel both meticulously constructed yet at the same time like an expulsion of whatever comes to mind in Bleek’s head.
A lo-fi and roomy production, he addresses lyrical explorations of the human condition, love and masochism. No surprise there. An advocate of the darker and more lugubrious aspects of life there’s a rich vein of unsmiling vaudevillan splendour amongst the musical acrobatics.
EP RELEASES
“Sounds Behind the Night”
Released July 2nd 2022
“Sounds Behind the Night” is the 11th Bleek Noir EP to date, and was written in the early months of 2022.
The EP’s release was announced by BBC Introducing North East (BBC Radio Tees), who played the record’s first single, “Is It Only Me?” and its closer, “Behind the Night, Behind the Moon”, before the EP’s release.
A shorter EP than usual, Sounds Behind the Night packs a huge punch in 3 tracks, and demonstrates a real shift in the creative process for Bleek Noir. Containing everything you’d expect from a Bleek Noir record and so much more, the EP is a true departure, standing as distinctingly unique in the Bleek Noir catalogue with its far more direct and accesible delivery.
This is a new Bleek Noir. Reintroductions unnecessary.
“Strange Singalongs”
Released October 2nd 2021
Recorded in Summer 2021, “Strange Singalongs” might be the ultimate Bleek Noir record to date. A somewhat less angular offering, this collection of songs captures a newly refined version of Bleek Noirs’ unmistakable sound.
More proudly demonstrating Fox’s interest in more traditional songwriting, and classic alternative music sensibilities, “Strange Singalongs” is a departure, presenting a more complete Bleek Noir.
Featuring the recent single, “Lend Me Your Lips” (released on June 12th), the four track EP spans faux-jazz waltz’s to post-punk fist pumpers, and pulses with the rich lyricism and intensity of performance you’d expect from a Bleek Noir release.
“Pleasure House Bottled Air”
Released April 3rd 2021
“Pleasure House Bottled Air” is the tenth Bleek Noir EP to date, and the fourth written and recorded during the Coronavirus pandemic and national lockdown.
“Civilise Me”, a track pulsing with foot tapping energy, packed with hooks, and driven by melodic lead guitar lines, starts the EP.
“Genevieve”, the first single from the EP, released March 20th 2021, is a more straight-ahead offering from Bleek Noir, perfectly encapsulating the lyrical theme that runs through the entire record.
“All Kinds of Ugly” began as an acoustic jazz piece, and became a monster. Whilst unashamedly angular with its orchestra of guitars, it might have one of the biggest chorus’s on the entire record, and some of the most interesting lyrics.
That title, however, probably has to go to “The World’s Oldest Job”, the most angular cut in this collection. Written originally as a poem, and music written on the piano, which is unheard of for Bleek Noir, this spoken-word closer gives the EP its name.
“Here, Hold My Other Ugly Face”
Released November 14th 2020
The third release of 2020, and the third recorded under lockdown conditions, “Here, Hold My Other Ugly Face”, is the first acoustic Bleek Noir record.
Featuring acoustic reimaginings and rearrangements of previously recorded Bleek Noir songs, this record is equally both a retrospective and a collection of new ideas.
Harkening back to the music of Fox’s past, with flavours of 20’s and 30’s Jazz and Americana throughout, “Here, Hold My Other Ugly Face”, though a stark departure, manages to remain unmistakably and undeniably “Noir”.
Featuring tracks from the “Fresh Born Animal”, “Garden de Sade”, “Crude Hissings” and “Throw Yourself Inside” EP’s, this is a brand new face of Bleek Noir.
“Bite Thy Pigsty”
Released August 1st 2020
This five track EP begins where “I Am Unamused” finished, before making ever deeper the strange world of Bleek Noir.
Written and recorded months into national lockdown and isolation, “Bite Thy Pisgty” is an exploration, and the first Bleek Noir release to feature instrumental recordings.
“A Human Kind of Cruel” begins this record. Though its lyrics are distinctively Noir, the synth-led track is a real departure for Bleek Noir, highlighting Fox’s unique guitar style.
A guitar style which is constant across this record, through the angular and powerful “Becoming Beast”, and the frantic and playful “Fingers”.
While an unusual format for an EP, instrumental versions of “A Human Kind of Cruel” and “Becoming Beast” conclude the record. Originally written as instrumental songs, these versions stand on their own as experiential listening experiences.
“I Am Unamused”
Released April 11th 2020
Recorded as the UK was plunged into lockdown conditions, this collection of four songs shine a light on yet another ugly face of Bleek Noir.
The record begins with the opening sample of “Nobody Loves Us”, before an orchestra of synth and guitar set the tone for this frank look at one’s own home land.
“Do Me a Favour”, the single taken from this release, is quintessentially Bleek Noir, while the guitar-heavy production provides a whole new sound.
A sound which certainly carries through to “Chewed Up & Hoofed In”. A hair over three minutes of lo-fi relentlessness, of manic synths, clanging guitars and an intense vocal to boot.
The guitar-centric production and supportive synths follow through the final track, “Medicine”. Both one of the catchiest tracks on the release, with Noir’s pop sensibilities laid bare, it’s also explosive and exploratory.
“Throw Yourself Inside”
Released October 26th 2019
“Throw Yourself Inside”, is a stark reminder, that despite its distinctive sound, consistent across all releases, Bleek Noir is constantly exploring and morphing.
In “Safe”, “Come Have At Me”, and the single “Don’t Stay Away”, the signature Bleek Noir sound is ever-present, reborn perhaps with a new Rockabilly undertone, but the changes to production are made glaringly obvious. Gone are the electronic elements previously utilised, replaced by pounding arabic percussion, kick drums & strung bass.
“I Don’t Remember” is a song from another time, taken back. Mostly re-written, the chorus is all that survived the original song. Originally penned as a sneer about the lack of actual lyricism in the modern pop music of the time, Bleek Noir has never sounded quite so accessible.
“I Come To You By Railroad” is Bleek Noir as its melancholy best. Ending the record, this ballad of sorts, is a lulling, hyptonic peek into personal darkness. Well, aren’t they all?
“Conception Tapes (Conceiving Bleek Noir)”
Released March 2nd 2019
The first archive record of sorts from Bleek Noir.
But with a difference.
These tracks were recorded in the time before Bleek Noir was spawned. In a period of illness and lack of purpose following Fox’s folding of his previous act and living as a touring live musician.
On doctors orders to rest his throat at all costs, Bleek Noir was slowly and painfully created from these early recordings, some of which were later re-recorded and re-imagined for the debut EP. Others were previously unavailable. Until now.
“Temple”
Released October 27th 2018
At the time of its release, “Temple” was, and could still be, the most accessible Bleek Noir record.
Recorded in a number of different locations, and with guitar and vocals recorded by James Oconnor, Temple was written rather quickly, and recorded similarly.
Two Love Songs (whilst not sounding like any love songs you’ve likely heard recently, or ever) feature on this release, while some farmiliar Bleek Noir sleaze is evident in the others.
The Single release of “Come Up & See Me”, the EP’s opener, and the accompanying music video was released on November 24th.
“Crude Hissings”
Released May 28th 2018
“Crude Hissings” is one Bleek Noir book end, opposite “The Garden de Sade”, but with a sound all of its own.
The single from this record “I Cower Too” is a perfect example of how the influences of Bleek Noir, from all areas and eras of music can be present, whilst the result is undeniably Noir.
The record’s opener “Where Do I Go”, at it’s core, reveals Fox’s pop sensibilities, whilst those angular guitars are ever-present.
“I Smell Murder” is the clear track of total lyrical exploration found on most Bleek Noir records.
Completing the release, an interpretation of the old American Traditional “Black Betty”. Notably recorded by Leadbelly. But not quite like this.
“The Garden de Sade”
Released March 2nd 2018
This is the arrival of Bleek Noir. Dark. Angular. Frantic. Emotive. Intense. Dramatic.
Featuring the singe that teased the release, “Last Night I Saw Myself With The Animals (And The Animals Ate Themselves), a song Fox openly says is his finest ever musical moment.
Lips Left Hissing the second song from this record shines a light on the distinctive shriek of Bleek Noir guitars and the chorus’s that drop your back to the ground as much as they lift.
“Do You Know What I Mean” and “Ten Kinds Of Love” are the more straight-ahead cuts on this record, while “Come Have Her”, a true noir piece in regards to genre, one of the stranger Bleek Noir tracks.
Highlighted in the review of the release by Manchester music blog Even The Stars, “From The Bell Jar” shines a light on Fox’s feelings twards his country, falling into the post-brexit ground.
“Fresh Born Animal (And I’m Not Sure Who I Am)”
Released July 28th 2017
The debut.
Here Bleek Noir establishes its love of the dark aspects of music and melodic hooks, combined.
“Harder Love” might be the closest thing to a hit you’ll get out of Bleek Noir, and it’s a long way off. But it’s direct and memorabble, delivered with a distinctive sensibility that would be ever present throughout the entire discography to come.
“You’d Have Been So Ashamed Of Me” would confirm the suspicions of those querying the lyrics to “Harder Love” that lyrically Fox favours topics found in Novels they don’t teach you about in High School, and matters of the human condition. The two are eternally linked.
Irene (And My Body Wants Out), is evidence of the huge melting pot of influences Bleek Noir brings to the table. From Post-Punk, to Jazz, and here, to 50’s Music – but Noir.
EP RELEASES
“Sounds Behind the Night”
Released July 2nd 2022
“Sounds Behind the Night” is the 11th Bleek Noir EP to date, and was written in the early months of 2022.
The EP’s release was announced by BBC Introducing North East (BBC Radio Tees), who played the record’s first single, “Is It Only Me?” and its closer, “Behind the Night, Behind the Moon”, before the EP’s release.
A shorter EP than usual, Sounds Behind the Night packs a huge punch in 3 tracks, and demonstrates a real shift in the creative process for Bleek Noir. Containing everything you’d expect from a Bleek Noir record and so much more, the EP is a true departure, standing as distinctingly unique in the Bleek Noir catalogue with its far more direct and accesible delivery.
This is a new Bleek Noir. Reintroductions unnecessary.
“Strange Singalongs”
Released October 2nd 2021
Recorded in Summer 2021, “Strange Singalongs” might be the ultimate Bleek Noir record to date. A somewhat less angular offering, this collection of songs captures a newly refined version of Bleek Noirs’ unmistakable sound.
More proudly demonstrating Fox’s interest in more traditional songwriting, and classic alternative music sensibilities, “Strange Singalongs” is a departure, presenting a more complete Bleek Noir.
Featuring the recent single, “Lend Me Your Lips” (released on June 12th), the four track EP spans faux-jazz waltz’s to post-punk fist pumpers, and pulses with the rich lyricism and intensity of performance you’d expect from a Bleek Noir release.
“Pleasure House Bottled Air”
Released April 3rd 2021
“Pleasure House Bottled Air” is the tenth Bleek Noir EP to date, and the fourth written and recorded during the Coronavirus pandemic and national lockdown.
“Civilise Me”, a track pulsing with foot tapping energy, packed with hooks, and driven by melodic lead guitar lines, starts the EP.
“Genevieve”, the first single from the EP, released March 20th 2021, is a more straight-ahead offering from Bleek Noir, perfectly encapsulating the lyrical theme that runs through the entire record.
“All Kinds of Ugly” began as an acoustic jazz piece, and became a monster. Whilst unashamedly angular with its orchestra of guitars, it might have one of the biggest chorus’s on the entire record, and some of the most interesting lyrics.
That title, however, probably has to go to “The World’s Oldest Job”, the most angular cut in this collection. Written originally as a poem, and music written on the piano, which is unheard of for Bleek Noir, this spoken-word closer gives the EP its name.
“Here, Hold My Other Ugly Face”
Released November 14th 2020
The third release of 2020, and the third recorded under lockdown conditions, “Here, Hold My Other Ugly Face”, is the first acoustic Bleek Noir record.
Featuring acoustic reimaginings and rearrangements of previously recorded Bleek Noir songs, this record is equally both a retrospective and a collection of new ideas.
Harkening back to the music of Fox’s past, with flavours of 20’s and 30’s Jazz and Americana throughout, “Here, Hold My Other Ugly Face”, though a stark departure, manages to remain unmistakably and undeniably “Noir”.
Featuring tracks from the “Fresh Born Animal”, “Garden de Sade”, “Crude Hissings” and “Throw Yourself Inside” EP’s, this is a brand new face of Bleek Noir.
“Bite Thy Pigsty”
Released August 1st 2020
This five track EP begins where “I Am Unamused” finished, before making ever deeper the strange world of Bleek Noir.
Written and recorded months into national lockdown and isolation, “Bite Thy Pisgty” is an exploration, and the first Bleek Noir release to feature instrumental recordings.
“A Human Kind of Cruel” begins this record. Though its lyrics are distinctively Noir, the synth-led track is a real departure for Bleek Noir, highlighting Fox’s unique guitar style.
A guitar style which is constant across this record, through the angular and powerful “Becoming Beast”, and the frantic and playful “Fingers”.
While an unusual format for an EP, instrumental versions of “A Human Kind of Cruel” and “Becoming Beast” conclude the record. Originally written as instrumental songs, these versions stand on their own as experiential listening experiences.
“I Am Unamused”
Released April 11th 2020
Recorded as the UK was plunged into lockdown conditions, this collection of four songs shine a light on yet another ugly face of Bleek Noir.
The record begins with the opening sample of “Nobody Loves Us”, before an orchestra of synth and guitar set the tone for this frank look at one’s own home land.
“Do Me a Favour”, the single taken from this release, is quintessentially Bleek Noir, while the guitar-heavy production provides a whole new sound.
A sound which certainly carries through to “Chewed Up & Hoofed In”. A hair over three minutes of lo-fi relentlessness, of manic synths, clanging guitars and an intense vocal to boot.
The guitar-centric production and supportive synths follow through the final track, “Medicine”. Both one of the catchiest tracks on the release, with Noir’s pop sensibilities laid bare, it’s also explosive and exploratory.
“Throw Yourself Inside”
Released October 26th 2019
“Throw Yourself Inside”, is a stark reminder, that despite its distinctive sound, consistent across all releases, Bleek Noir is constantly exploring and morphing.
In “Safe”, “Come Have At Me”, and the single “Don’t Stay Away”, the signature Bleek Noir sound is ever-present, reborn perhaps with a new Rockabilly undertone, but the changes to production are made glaringly obvious. Gone are the electronic elements previously utilised, replaced by pounding arabic percussion, kick drums & strung bass.
“I Don’t Remember” is a song from another time, taken back. Mostly re-written, the chorus is all that survived the original song. Originally penned as a sneer about the lack of actual lyricism in the modern pop music of the time, Bleek Noir has never sounded quite so accessible.
“I Come To You By Railroad” is Bleek Noir as its melancholy best. Ending the record, this ballad of sorts, is a lulling, hyptonic peek into personal darkness. Well, aren’t they all?
“Conception Tapes (Conceiving Bleek Noir)”
Released March 2nd 2019
The first archive record of sorts from Bleek Noir.
But with a difference.
These tracks were recorded in the time before Bleek Noir was spawned. In a period of illness, lack of purpose following Fox’s folding of his previous act and living as a touring live musician.
On doctors orders to rest his throat at all costs, Bleek Noir was slowly and painfully pulled from these early recordings. Some of which were later re-recorded and re-imagined for the debut EP, others were previously unavailable. Until now.
“Temple”
Released October 27th 2018
At the time of its release, “Temple” was, and could still be, the most accessible Bleek Noir record.
Recorded in a number of different locations, and with guitar and vocals recorded by James Oconnor, Temple was written rather quickly, and recorded similarly.
Two Love Songs (whilst not sounding like any love songs you’ve likely heard recently, or ever) feature on this release, while some farmiliar Bleek Noir sleaze is evident in the others.
The Single release of “Come Up & See Me”, the EP’s opener, and the accompanying music video was released on November 24th.
“Crude Hissings”
Released May 28th 2018
“Crude Hissings” is one Bleek Noir book end, opposite “The Garden de Sade”, but with a sound all of its own.
The single from this record “I Cower Too” is a perfect example of how the influences of Bleek Noir, from all areas and eras of music can be present, whilst the result is undeniably Noir.
The record’s opener “Where Do I Go”, at it’s core, reveals Fox’s pop sensibilities, whilst those angular guitars are ever-present.
“I Smell Murder” is the clear track of total lyrical exploration found on most Bleek Noir records.
Completing the release, an interpretation of the old American Traditional “Black Betty”. Notably recorded by Leadbelly. But not quite like this.
“The Garden de Sade”
Released March 2nd 2018
This is the arrival of Bleek Noir. Dark. Angular. Frantic. Emotive. Intense. Dramatic.
Featuring the singe that teased the release, “Last Night I Saw Myself With The Animals (And The Animals Ate Themselves), a song Fox openly says is his finest ever musical moment.
Lips Left Hissing the second song from this record shines a light on the distinctive shriek of Bleek Noir guitars and the chorus’s that drop your back to the ground as much as they lift.
“Do You Know What I Mean” and “Ten Kinds Of Love” are the more straight-ahead cuts on this record, while “Come Have Her”, a true noir piece in regards to genre, one of the stranger Bleek Noir tracks.
Highlighted in the review of the release by Manchester music blog Even The Stars, “From The Bell Jar” shines a light on Fox’s feelings twards his country, falling into the post-brexit ground.
“Fresh Born Animal (And I’m Not Sure Who I Am)”
Released July 28th 2017
The debut.
Here Bleek Noir establishes its love of the dark aspects of music and melodic hooks, combined.
“Harder Love” might be the closest thing to a hit you’ll get out of Bleek Noir, and it’s a long way off. But it’s direct and memorabble, delivered with a distinctive sensibility that would be ever present throughout the entire discography to come.
“You’d Have Been So Ashamed Of Me” would confirm the suspicions of those querying the lyrics to “Harder Love” that lyrically Fox favours topics found in Novels they don’t teach you about in High School, and matters of the human condition. The two are eternally linked.
Irene (And My Body Wants Out), is evidence of the huge melting pot of influences Bleek Noir brings to the table. From Post-Punk, to Jazz, and here, to 50’s Music – but Noir.
BUY & STREAM
A fan of BandCamp, as a wonderful vehicle for listeners to directly affect the artist’s earnings from their purchase, and a platform that Fox has used to release his music since a young teenager, it’s a whole streamable discography, with artwork, links to videos, linear notes and clear chronology.
Currently phycial versions are unavailale.
But watch this space.
SINGLES
“Is It Only Me?”
“Lend Me Your Lips”
“Genevieve”
“Do Me A Favour”
“Don’t Stay Away”
“Come Up & See Me”
“I Cower Too”/”Where Were You”
“Lips Left Hissing”
“Last Night I Saw Myself With The Animals
(And The Animals Ate Themselves)”
“Harder Love/
Draggin’ The Damn Thing Around”
ALL available from BandCamp, or all stores/
platforms now. Click the button below.