NOIR
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.

"Temple" Review by Indie Pulse Music

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.

"Crude Hissings" Review by Louder Than War

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.

"The Garden de Sade" Review by Even The Stars

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.

"Fresh Born Animal" Review by Louder Than War

EP RELEASES

“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.

MUSIC

EP RELEASES

“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.

MUSIC

BUY & STREAM

All Bleek Noir records are available from every reputable store and streaming platform.

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

“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.