Richenel
L’Esclave Endormi

I am saddened by the death of Richenel.

Sound engineer John Fryer and I had the privilege of remixing his beautiful 'L’Esclave Endormi'.

1986 was the year most distant from rock'n'roll, for 4AD. Harold Budd, the Cocteau Twins, Victorialand and L’Esclave... we focused everything on something unique, emphasizing the power and individuality of the human voice. This concept helped to define 4AD in the purest way.

It was a joy to work with him on two pieces for the Filigree & Shadow album by This Mortal Coil. That voice was spectacular; Richenel did everything possible, continuing to sing until I said it was good, and I was happy. They were effortless sessions, on a sweet afternoon, and I cherish the memories as a treasure.

I know little of what he became when he was encouraged to enter the disco world, but I am so grateful to have collaborated, albeit briefly, with a beautiful man with the voice of an angel.

Ivo Watts-Russell on Hubertus Richenel Baars (April 20, 1957 - March 13, 2020)

The Dutch singer was a celebrated performer in Amsterdam's clubs and discos; between groups and solo performances, he carved the necessary space for his first record attempt, La Diferencia, in 1982. The style of the tracks was a (successful) attempt to propose an eclectic and sparse new wave (reminiscent of early INXS, in the opinion of the writer). Richenel sang exuding sensuality (and sexuality), the same that he would propose with the single L’Esclave Endormi, despite the necessary downsizing.

Ivo heard it and was so moved by those vocals full of passion and pain that he wanted to honor them. How? By highlighting Richenel's voice through a new mix that emphasized its pathos. Thus, 4AD (having acquired the rights from the Belgian Megadisc) released the reissue of Schiavo Addormentato. The original became the B-side of the new version by Ivo Watts-Russell and John Fryer.

There is a before and an after in Richenel's career regarding the aforementioned collaboration. Since it was a -wonderful- experiment, the singer embarked on a different artistic path which earned him a fair amount of commercial success in England, thanks to the hit Dance Around The World and a handful of records that musically embraced what was in vogue at the end of the eighties. George Michael wrote him a piece titled Are You Just Using Me, under a pseudonym.

I therefore recommend listening to what I consider to be Richenel's most valid contribution, albeit less known, to the most intimate romanticism with fairy-tale touches that is worth rediscovering.