Blackie (musician)

Michael LaCour (born April 22, 1987), known by his stage name Blackie (styled in all caps with spaces, B L A C K I E) [1] is an American musician and record producer.[2][3] His experimental style combines hip hop, hardcore punk, noise, industrial and electronic.[4][5]

B L A C K I E
Performing live at Numbers in Houston, 2008
Background information
Birth nameMichael LaCour
Born (1987-04-22) April 22, 1987
Houston, Texas, U.S.
GenresIndustrial, hip hop, hardcore punk, noise, electronic, experimental, punk jazz
Occupation(s)Musician, rapper, record producer
Years active2005–present
LabelsTOOTH Records
Associated actsCop Warmth, Fat Tony, LIMB, Female Demand
Websiteb-l-a-c-k-i-e.com

History

Michael LaCour first gained notoriety as B-L-A-C-K-I-E through assembling his own sound systems. At one time his sound system was rumored to consist of over twenty speakers and to be estimated at more than 5,000 watts. These sound systems would propel LaCour to local recognition. Often set up on the floors of nightclubs and warehouses, his massive speaker arrangement coupled with his energetic and many times unscheduled performances caused him to become legendary in Houston.[6][7] He is featured on the cover of the book Houston Rap Tapes: An Oral History of Bayou City Hip-Hop.

Music

LaCour has been called a "one-man noise ordinance violation"[8] and his sound has been described as "equal parts fucked-up electronics, distorted pop-cult samples, guitar feedback, video game noise, and angry-as-hell street flow".[9] He at one point called it "U.S. Grime" and "Thrash-Rap", among other names,[10] and it has left several critics dumbfounded.[11][12]

Controversy

While LaCour's manic performances have made him a fan and college-radio favorite,[13][14][15] in equal measure they have drawn the ire of many.[16][17] LaCour has explained in interview that the spelling and spacing of the epithet that he uses as his stage name was chosen for visceral as well as aesthetic reasons. The artist states, "...I started writing it down, like over and over and when I would write it normal like just with the B capitalized it looked ugly, I didn’t like how it looked. Then I started writing it in all caps real big all over the paper and I thought it looked really intimidating, really good..."[18]

Discography

Albums

  • Wilderness of North America (2008)
  • GEN (2012)
  • IMAGINE YOUR SELF IN A FREE AND NATURAL WORLD (2014)
  • REMAINS (2017)
  • FACE THE DARKNESS (2020)
  • FACE THE DARKNESS II (2021)

EPs

  • B L A C K I E (2005)
  • Spred Luv (2009; cassette only)
  • True Spirit and Not Giving a Fuck (2011)
  • Fuck the False (2012; cassette only)

References

  1. "Type-Concerned MC Proves To Be Quite The Pacemaker". The Houston Press.
  2. "B L A C K I E With A Capital DIY". 29-95. Archived from the original on 2013-03-11.
  3. "FUN FUN FUN FEST 2011". Austin360.
  4. "SXSW Friday Picks & Sleepers". The Austin Chronicle.
  5. "SXSW Showcase Reviews: B L A C K I E All Caps With Spaces". The Austin Chronicle.
  6. "Radio Battle Tuesday: B L A C K I E vs. KTRU". SpaceCityRock.com.
  7. "Aftermath: Recession Thursday at Numbers, with Blackie". Houston Press.
  8. Langer, Andy (March 5, 2011). "The Texas Shuffle". NYTimes.com.
  9. "Wilderness Of North America on Space City Rock". SpaceCityRock.com.
  10. B L A C K I E @ myspace
  11. "REVIEW: B L A C K I E - WILDERNESS OF NORTH AMERICA". TheSkyline.net. Archived from the original on 2008-11-21. Retrieved 2008-10-28.
  12. "B L A C K I E Explores the Wilderness of North America". Houston Press.
  13. "REVIEW: B L A C K I E - WILDERNESS OF NORTH AMERICA COMMENTS". Houston Press. Archived from the original on 2008-11-21. Retrieved 2008-10-28.
  14. "Fans Attack". Houston Press.
  15. "KTRU Fall Portfolio 2008" (PDF). KTRU. Archived from the original (PDF) on 2008-09-10. Retrieved 2008-10-28.
  16. "B L A C K I E at Free Press SummerFest 2011".
  17. "B L A C K I E Artist Profile". Space City Rock.
  18. "Interview With B L A C K I E". Pretty Riot. Archived from the original on 2012-07-13. Retrieved 2012-04-24.
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