Huitième art

Album review

Let's be clear: Sinik is not making a comeback. For one thing, in fifteen years he has never left the French rap scene. He has released seven albums at regular intervals: sometimes with indifference, but always following the same rule: authenticity. So, on this eighth album, logically titled  Huitième art, Sinik is remaining true to himself. His rap is fundamentally anchored in the news: not in pop culture like that of many of his young colleagues, but in names like Eric Zemmour, Marine Le Pen, Mennel, Charlie Hebdo, which are scattered throughout pieces like Douce France or Les Compteurs... we encounter references to Covid-19, police violence, everything that disgusts Sinik, that visibly overwhelms him, and that he feels a deep need to spit out in his music. This is how he has always approached his art. And he stands in a musical tradition that makes much use of strongly melodic instrumentals. The only trap piece to be found here is Molière. And it's a success. After all, it's true that Sinik, with his unique, characteristic flow, can sometimes fall into a kind of monotony. But in the end it is swept away with some welcome experimentation and original touches. The themes, too, are traditional, in particular on Séniorita: a love-letter to his daughter, a well-worn format of French rap from the 2000s, perfected here. Everything on this album offers proof that Sinik is for real, and that if rap is enjoying the limelight today, it's thanks to artists like him. He is right to point this out, and Huitième art  sounds like a much-needed call to order. © Brice Miclet/Qobuz