Richardine Bartee
Since 2013, I’ve secretly been at the helm of the débruit fan club.
I
t’s been a long time since my initial infatuation with débruit occurred. It was his promo photos, around the time of his music video release for “Cuivrée” that won me over. I couldn’t stop looking at him. I was obsessed. Looks and brand aside, in my often-warranted opinion, the innovative French producer, also known as just Xavier Thomas, happens to find inspiration in smudging the oh-so perpendicular lines of races and cultures, which often meet at the core of human expression — especially in music and entertainment.
I find that to be fascinating and relatable. Next month, the culture clasher will gift the world with an 11-track album called “Outside The Line,” which he plans to release via his multi-disciplinary structure or imprint called, ICI.
Upon hearing the unreleased body of music for the first time, the opener gave me chills. It could have been the deep voice at the beginning of the record which reminded me of the voices used in horror films, or the white noise or the combination of both but as the artist suggests, it is a sonically luscious blend of traditional West African and New York City in the 1980s. Ironically, I feel that this imaginary place where débruit says “ancient West Africa cohabits with 80’s New York” lives within me. I am of West African descent and I have lived in New York City for 29 years. My ancestors are from Liberia, and my maternal grandfather is of Arab descent. I was born in New York City.
Moving right along, the mighty Red Bull Music Academy just released débruit’s second single, “Shock.” Hear it below and pre-order it via this link.
Since 2013, I’ve secretly been at the helm of the débruit fan club. He probably doesn’t know this but I’ve secretly wanted his iconic sparkling glasses so I could wear them to work and eventually frame them in a box to put on display.
