Blackjoy, the unpolished gem, cuts a likeness more to his inner shine than his two previous outings. After Time & Erotis, Jerome Caron, aka Blackjoy, has created Joie Noire, a bewitching and entrancing reaction to the trends of minimal electronic music: free thinking music for daytime dreaming and basking in joy. A motionless journey shaped by the likes of Can and Weather Report to Carl Craig and Plastikman to name a few. Further influences span from Indian music, science fiction soundtracks, and the arpeggio laden early 80’s TV show themes… Under a bright light, these dark jewels, fashioned in solitude, reveal far subtler arrangements than found in his previous albums. Back to the future in a way… “This album looks like me. Its aim: to favor the issue of sophistication and maturity. I’m not looking to sound like anything, only to be true to myself ”

A stripped back album, without pretense, matching Caron’s mindset: “I’ve written the tracks, keeping in mind, the idea of a desert, of a no man’s land. Probably because I didn’t know which direction to take; the music reflects my mind at that particular time.”

Jerome sketched out the album at home in 3 days with keyboards and a beatbox, before heading to Pavlé’s studio. Having worked on the original groove monster Moustache, Pavlé was the perfect man for the job. From Caron’s spontaneous home sessions ensued improvised lines that rapidly grew into full tracks, “I wanted arpeggios. Pavlé is a keyboard killer, he knew how to bring the exact sparkle I was looking for.”

Upon completion, the influential connoisseur of the electronic Parisian scene of the 90-00’s, Jerome Mestre, listened to “Joie Noire”. Completely seduced Jerome Mestre signed the project on his label desire. The two Jeromes made a deal: Caron leaves the musical and artistic direction to Mestre, who has the last word on the edit of the tracks. Once the songs done, Jerome Caron, probably on drugs, starts a new mix at home and the album grows, spontaneous and homogeneous.