Myth Syzer, rose tinted romanticism
For some years now, producer Myth Syzer has been brightening up the landscape of French rap with new and innovative productions for Hamza, Damso, Joke and his group Bon Gamin. On the side, the beatmaker is still serving up instrumental projects, often minimalist but sometimes more dancey, as with Ikaz Boi and Bromance on their Cerebral EP. For each composition, Myth Syzer tells a story and shares an emotion directly with a sense of real intimacy, in the manner of his hero J Dilla.
With this characteristic eclecticism, it isn't surprising to see this versatile goldsmith putting together a first solo album with a rose-tinted, romantic look. Put down after a breakup, Bisous is a reduction of all the possible affairs of the heart that can go on between two people. He invites a whole new generation of refreshing voices from Bonnie Banane to Aja via Oklou and Muddy Monk: Myth Syzer shows us some little touching scenarios in which everyone can find themselves. The result defies classification, sitting somewhere between 1980s chanson française, atmospheric electro-funk and hypnotic lo-fi rap, in the wake of the piece Le Code and its implacable melody. The producer even treats himself by bringing on Doc Gynéco who offers his best performance in years, reminiscing about Isabelle Adjani in Pull Marine.
In this enchanting and unticketed journey, the most surprising element is the role of Myth Syzer himself, with his assured but sparkling voice, as if the conductor was putting down his baton to join the instruments: sometimes solo, often keeping time on a bridge. This completely spontaneous role opens new vistas for an already-established artist. This sweet interlude is only a step on the way to another place, as indicated on the final piece with Roméo Elvis and Ichon, Ouais bébé, which is harder and colder. Everything's always in movement: the code has already changed. This is a unique album, always taking the listener off-balance, and covered in hot sand like on an August beach.