I think the world might finally be ready for Black Devil‘s mutant Disco Club masterpiece, and that means it only took thirty-seven years to catch up to French musician Bernard Fevre‘s idiosyncratic take on dance music. First released in 1978, Fevre’s unwaveringly singular vision and technology forward focus didn’t always win him a lot of sonic compatriots in his home country, and thus, except for in-the-know music collectors with a bent for weirdo disco, this album and artist unfortunately sank into obscurity.
Now, thanks to Anthology Recordings, Mexican Summer‘s reissue label launched in 2014, Black Devil’s third record, as well as his two previous library LPs, Suspense and Cosmos 2043, can all get a much deserved reappraisal–with the benefit of 20/20 hindsight. In addition, the reissue means we can check back in with Mr. Fevre, who has been, in fact, quite active in recent years as Black Devil Disco Club. In an extensive write-up about his music, that can be found over at Anthology with the pre-order for the albums, the feisty sixty-nine year old musician reveals he’s more than just alive, dude’s kickin’ it too! Sure, he’s got a bit of a chip on his shoulder, but so would you if you’re artistic output had been mostly ignored for three decades.
While on Cosmos 2043 and Suspense, both recorded in 1975, Fevre choose to work alone, Disco Club employed a live percussionist who recalibrated Black Devil’s drum loops, giving the album, according to the musician himself, a “handcrafted” feel. The record is attributed to Junior Claristidge and Joachim Sherylee, pseudonyms for Bernard Fevre and “co-producer” Jacky Giordano respectively, and while it was recorded in a studio in the suburbs of Paris, Fevre explains, “…we used equipment that would now be considered very “home studio”. (Indeed, home recordists and analogue electronic aficionados will definitely want to give the article a read for Fevre’s fairly extensive list of instruments used in his productions!)
For those new to the world of Black Devil, ““H” Friend” really delivers the goods. These are the kind of hypnotic, sick grooves that pushed disco forward and set the stage for house and techno. Arpeggiating bass and neon hued synth lines further set the mood, but it’s Fevre’s vocals that really take the cake. Perhaps an acquired taste, and possibly where the musician most reveals his avowed love for kitsch, his strange, vocoder effected voice has an opiated feel, adding quite nicely to the track’s already narcotic ambiance.
