“I made an album which speaks only of my girl and of the company”, underlines Orelsan to Gringe in the intro of Flowters Infinity breakers, two-thirds of Civilization, the fall event album in France.
Indeed, this hour of rap declined in 15 songs sometimes dissects the depths of love – Babyboa addresses female alcoholism, an unusual posture – sometimes the abyss of modern civilization; its climate crisis (Fuck the world), its racial tensions (The smell of gasoline), his social networks (Dream better, Alone with people around).
It is in this niche that the nervous and verbose writing of the rapper convinces: the title piece dips the pen in the wound. And what about Manifesto, gonzo hip-hop that plunges us with great detail and self-mockery at the heart of a demo.
This is the strength of Orelsan: to tell crudely, with this little messy and “incalculated” side. For the rest, the rapper ruminates on the past, with nostalgia and lucidity. “I was all alone, there are thousands of us, soon you will all forget me”, he agrees on the opening piece, Shonen, in manga colors.
The instrumental compositions, mostly by Skread, oscillate between electronic explorations (pop, disco, drill) and acoustic atmospheres (piano, guitar, etc.). If nightclubs will love Last drink (with none other than The Neptunes) and Clean, refrains like The Quest – music box in support – and the very “self-tuned” and predictable Better day leave us speechless. It’s very nice, almost as much as Bigflo and Oli.
In addition, a few references too supported to COVID-19 – or “to COVID”, as the French say – risk aging badly. We hope so, at least.
Knowing about Orelsan’s discography, Civilization is an average album, but we have to admit that the flow, the lyrics and the rhythms still place the rapper a good mark above his versifying comrades in France.
Pop / rap
Civilization
Orelsan
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