Are artists hostage to their communities?

Aurélien Chapuis, aka Le Captain Nemo, takes a weekly look at rap news with his favorites, discoveries and issues of the moment.

Last Friday, SCH dropped his mixtape Autobahn. 14 tracks, versatility, many different styles reminiscent of the style of Pone and the Fonky Family from the 2000s or even the peak of 113, but also knitting or 2-step discoveries. A highly sought-after, well-crafted, true piece of craftsmanship.

However, after much anticipation by S fans, many are taking to Twitter to express their displeasure just hours, sometimes minutes, after the draft was released. Given that Twitter has already become a corridor filled with airs of everything that’s going through people’s heads, being disappointed with a project worries me to the extreme.

Disappointment in music inevitably leads to expectations of the artist. We already pay almost no more, we stream thousands of times for less than 10 euros a month, I don’t see why the public can be disappointed with an artist or a project. The artist does not owe anything to us as a listener, he develops the art that he wants, loves and carries. Being disappointed with a project means not being with an artist anymore. But are we just trying to figure it out?

See also at Konbini

This whole process has been exacerbated in recent years by the development of very strong communities around certain rappers. If we take the example of Laylow, Freeze Corleone or even Damso, we can find a very compact community, full of fanatics of the artist, who spend their time deciphering, analyzing, even sometimes creating additional layers to the music. Layers that actually exist even in the artist’s mind. These hyper-powered communities are true motivators for success. Now you can only be listened to by a part of the audience and be completely successful because that part is more engaged. And more demanding.

Already Damso, when he was released GALF after Infinity, in my humble opinion, when he released his best records out there, with total freedom, he experienced this negativity, this disappointment in the eyes of his fans. The goal of the freedom artist is the same. But what if communities get in the way of their freedom to create?

When I saw SCH at Konbini last week, he was quite clear and forthright about it: the Twitter audience can be disappointed and criticize his songs “à la JuL”. In the end, these are the most streamed songs, his diamond singles. These are also the songs he talks about the most on the street, the songs people actually listen to.

So, a project, a commune that allows you to build a career, yes for the first fans. But no, society is not a whole. And early disappointment is often a delayed exposure. Trusting artists is also a beautiful image of a close-knit community. In the end, like SCH, Damso has never been more popular. And they are free.

5 basics of the week


I’m very happy with this little return of Zola in atmospheric form mode. It’s very musical, as always, with American references. I’ve always liked it vibes By Zola. And there, with new, very modern risk-taking, it really managed to impress again. This is real luxury in 2022. Amber, Amber, we really don’t know, but success, yes, absolutely.

Babyface Ray – Spend It feat. Blxst & Nija

Babyface Ray is probably one of the rappers I listen to the most right now. Each piece is hyper-engaged, whether in melody, ease of pose, turn of phrase, or just an emergent color (yes, I do synesthesia sometimes). And this time, with a verse from Nija and Blxst on the chorus, he may have found his little hit that could take him even further. Already on high rotation with me. Do the same.

Stavo – Cabinet of Ministers

I didn’t mention Stavo in this week’s editorial, even though his album is one of the most listened to in France. The Sevran rapper already has an incredible penchant for success in his duets, often with placement bosses like Freeze Corleone, Alpha Wann or 1Pliké140. But I often return to this last piece, where Stavo’s voice is quieter. The subject is even more implacable. After SCH, we unlocked Stavo this week and it was a really cool moment. This very special blend of menace and cool is truly unique about this rapper. I rarely get tired of it.

Key Glock – Try to die

Key Glock picks up where Young Dolph left off. I like this idea of ​​continuity. On his latest EP we find this great version of “Intimate Friends” by Eddie Kendricks, one of my favorite tracks by one of my favorite artists. This insanely emotional track has already been covered by Snoop, Nate and Warren G, or the incredible Children of the Corn, the most underrated duo of the 1990s. That’s why Key Glock restores an unchanging trend and completely renews it. the menacing, limping and deep “Die Trying”. One of my favorite titles of the year.

Lil Uzi Vert – Just Wanna Rock

Uzi Vert is on another planet. He might pay to come and place a piece or two on Earth from time to time. And every time, bim! This “Just Wanna Rock” grabbed me right away. Jersey? Yes. But still, in a different way, almost in the delirium of a stadium house, only Uzi Vert can do a mix. A clip released in recent days provides just one layer. I love Uzi Vert. The music world needs him. Rockstar indeed.

nostalgic line

A few days ago we celebrated his 20th birthday 8 miles, a biopic about Eminem and his background in the fighting world of Detroit. Along with this film by Curtis Hanson, there is a soundtrack that launched many new talents from Shady Records in the early 2000s, such as of course 50 Cent and his G-Unit, D12 and… Obie Trice. It’s even the disc where we discover Shady Records’ biggest hit, Obie, especially the bonus track ‘Rap Name’ which you won’t find anywhere else. By the way, it’s still not available for streaming.

In this piece, Obie Trice uses his official first and last name rather than a moniker, introducing a new trend that will stretch back to Kendrick Lamar. Well, also, his name is Obie Trice, he’s gorgeous. Back then it was a perfect mix of Obie Redman, Xzibit, Tash of the Alkaholics and MC Breed. There was also a Busta Rhymes cartoon, heavily involved in the performance. Eminem’s first appearance a few months ago on his last good record with “Drips”.

I fell in love with this early Obie, I recommend giving it a listen, I’ve been going back to it these past few days and it’s irreverent, efficient, fun and full of ridiculous humor. It has aged so well, I miss Obie.

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