The producer got his start in the 2010s connecting underground electronic sounds and hip-hop. His first album, “Revanchist,” embraces a long-derided genre of dance music.
It was the seventh soggy weekend in a row in New York, but a throng of 20-something club kids with chunky boots and shaggy mullets still made the pilgrimage to a punk venue in an industrial stretch of Brooklyn where the British producer Evian Christ was performing a four-hour D.J. set to celebrate the release of his debut album, “Revanchist.”
Backlit by a rig of xenon strobe lights and silhouetted by arena-grade fog that engulfed the dance floor in a blissed-out haze, Christ did the most to bring a religious experience to the room. His masterful, theatrical buildups, full of relentless bass lines, pounding synths and prismatic arpeggios, blasted from the speakers as a single disco ball sparkled overhead. The crowd seemed to rise off its feet and levitate alongside it.
But Christ, born Joshua Leary, didn’t always know how to work a room like this.
“When I started, I could hardly D.J. at all, to be honest,” he said in a recent interview from his home in the northern English town Ellesmere Port, where he still lives. Over a decade ago, Christ was catapulted into the spotlight after his 2012 mixtape “Kings and Them” caught the attention of Kanye West, who invited him to produce on his buzzing, shape-shifting sex jam “I’m in It,” from “Yeezus.” The track helped catapult his career: Collaborations with the rappers Travis Scott and Danny Brown, an itinerant club night called Trance Party and a fresh record deal followed. But he didn’t put out a full-length album of his own until last Friday.
Most artists don’t drop their debut a decade after their breakthrough, but Christ, 34, has long chosen the unconventional path. In the 2010s, he was part of a wave of producers seeking out intersections between underground electronic music and mainstream hip-hop, splicing chopped-up rap vocals with hard-edge synth stabs. His skill for that approach endeared him to ravers across the globe, in part because he has long been devoted to trance, an often-derided genre of dance music rooted in big climaxes and unabashed sentimentality. On “Revanchist” he leans into it at a critical moment in the sound’s bubbling comeback, making a statement about its relevance and power.
It’s an audacious album from an artist who practically stumbled into music. The first time Christ stepped foot in a professional recording studio was at West’s request. He was in his early 20s, and had been making tunes in his mother’s garage while studying education and teaching schoolchildren during the day. “I was more interested in other hobbies, like sports,” he explained. “I just did music if it was raining.”
At the end of 2011, he uploaded some experiments to YouTube, which the now-defunct Tri Angle released as the mixtape “Kings and Them” in February 2012. A year and a half later, West (now known as Ye) and his team flew Christ to Paris to work on “Yeezus.”
