Everything began in New York for the young Chill -- soon to be known as Akhenaton -- when he met lots of rappers at the beginning of the golden era. But it was definitely when he dropped rhymes on a Choice MC maxi-single in 1988 that he understood rap would be his way. So when he came back to Marseille, he wanted to develop his skills with Eric Mazel (aka DJ Khéops) and the dancer who spits words, Jo -- who would become Shurik'n. And with that same energy, he held strong in his formative years, when money was scarce. In the meantime, producer Imhotep, Kephren, and Malek (aka Freeman) joined the group that would soon become IAM. In 1989 they recorded -- with no money -- a maxi-single that already contained the Egyptian touch that would become their trademark, also reflected in the text, which displayed an openness and wider point of view than the usual stick-it-to-the-street speeches. As a result, they created considerable reverberation in the audience as they toured with Madonna on her Blonde Ambition Tour. They finally dropped their first album, ...De la Planète Mars (for Marseille), in 1991; it was the first rap album ever released by a French group, and notably one with the talent to approach very different subjects and moods with ease and honesty. The tone was set and competitors were warned -- nobody else would ever combine wisdom acquired in the streets with ancient Eastern philosophy. Despite the usual difficulties of a sophomore effort to overcome, IAM planned Ombre Est Lumière as a double disc containing about 40 tunes. (Released in 1993, a single-disc version of the album would appear in 1994.) The set included "Le Mia," a track that put IAM on radios and dancefloors across France. The group now known in the mainstream audience for this hit would follow it with another anthem, "Le Feu," which definitely put them on the map. Since the beginning, IAM expressed political views and used press interviews and TV shows to affirm them in public -- particularly when politicians were also invited to participate (and many deemed IAM's remarks to be accurate). After Ombre Est Lumière was released and the group received a Victoire de la Musique award, Akhenaton went solo and collaborated with the new guard of Marseille, the Fonky Family. Shurik'n, Imhotep, and Malek also drifted toward solo projects, but all came back together for the preparation of the next episode of the IAM saga. Recorded in the U.S., the first version of the group's next album would be remixed and reorganized as their skills and experience continued to expand, making L'Ecole du Micro D'Argent an accomplished piece of art by the conclusion of the sessions. Language, moods, sound textures, and the interactivity among the MCs all combined to achieve the subtle difference between a good album and a great one. IAM thus marked a powerful milestone in the French rap genre, one of the few that would extend beyond the borders of the French language. After the shock wave created by L'Ecole du Micro D'Argent had receded, the members of the group decided to refocus on personal projects, even considering cinema. Akhenaton, for example, co-wrote Comme un Aimant, and assembled music from many of the U.S. singers he had loved in his childhood -- from Isaac Hayes to Minnie Riperton to Marlena Shaw -- for the soundtrack. It would take four years for IAM to return with a new album. Revoir un Printemps would remind listeners of the freshness of the group's sound, contradicting those who asserted that rap was dead in an era when cats wanted to be lions. Despite a newfound maturity, IAM continued to include their share of fun, with Method Man and Redman getting rhymes on "Noble Art," and even Beyoncé and Syleena Johnson taking part in the adventure and adding a little spice to the flavor. Like a number of other rap artists who have emerged in a genre not "monitored" by the music industry, IAM mixed both rage and intelligence, constantly discovering new dimensions for the pleasure of listeners' ears and minds. It can easily be said that this group is one of the few that put French listeners at ease concerning the languages of rap: only talent makes it work, and hip-hop heads in France were reassured that sometimes there is no need to envy the U.S. when a group like IAM can emerge on French shores. ~ Vincent Latz
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Rap - Released March 4, 1999 | Parlophone France
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This album is one of the cornerstones of French hip-hop music. Its release was a major act for IAM as they finally found a sound to match the quality of their lyrics, as well as for French hip-hop, confirming the fact that rap has a lot of followers in the Hexagon. Like their peers from the suburbs of Paris, NTM, IAM went to New York to instigate the production of this album, seeking for the essence of the sound one can only find in the Big Apple (their previous album was also cut in N.Y.). They teamed with Prince Charles Alexander, the mixer and engineer who worked a lot for Bad Boy Records. They even got close to the Wu-Tang realm through Sunz of Man members on "La Saga." The sound has definitely changed from the previous albums: at first putting themselves in the Egyptian tradition (look at their names), they now have found the musical depth they deserve as ones of the few best lyricists of France. Definitely influenced by the Wu-Tang soundscapes, the opening track is the story of the battle between their school, from the silver mic, against the wooden mic school, in a Bushido style. Too bad that non-French speaking listeners won't get the lyrics; they cannot appreciate the quintessence of IAM's style. However, most of the album sticks to the traditional approach of storytelling, as it covers the city life in its darkness: little brothers that want to grow too fast and be the new caïd ("Petit Frère"), money hungry women who have sex without giving their names, the difficulties to have a similar chance and destiny than a boy growing up in the well-off (about equality of chances) and much more. Not many subjects of relief here, we only breathe thanks to the banging instrumentals and phrasing of the MCs. IAM takes the time to raise questions we don't want to hear, and stories we don't want to remember. This album is just hip-hop as its best: quality of the production with skilled lyricists in top form. This would just be one of you first "must-have" purchase if you plan to approach French rap music. ~ Vincent Latz
Rap - Released January 1, 2007 | Universal Music
Released in 2007, Saison 5 is the fifth album from the French hip-hop crew IAM, coming four years after their previous release, Revoir un Printemps. “Une Autre Brique” and “Ca Vient de la Rue” are the hit singles, while production comes from the likes of Akhenaton and Shurik'n. ~ David Jeffries
Rap - Released November 26, 2004 | Parlophone France
Released in late 2004 as a digital download, this collection brings together 26 tracks from this well-known and respected French rap outfit. (The physical CD version released in early 2005 was split over two discs.) Features stand-out moments such as "Je Dans le Mia," and "Le Feu." ~ Chris True
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