Black M - Il était une fois…

Once upon a time…: when collective storytelling becomes the engine of a solo album. The record opens with "Bon - Prologue," an introduction that immediately sets the scene: Black M is not offering a mere collection of tracks, but rather the plot of a story. Between the prologue and the final remix that closes the cycle, they form an architecture where every guest is never just a sonic accessory, but a necessary link in the progression of the narrative.

The Genesis of a Solo Outside the Group

Released on September 13, 2019, via RCA Group, this opus is Black M's third solo album, published after Éternel insatisfait (2016) and before Alpha, Pt. 1 (2021). With a total runtime of 59 minutes and 17 seconds, the record features 17 tracks. Far from seeking to replicate the pop formulas of previous albums, Black M constructs a fresco where they serve as the backdrop for an assertive and structuring writing style.

Stylistic Breaks in Service of the Narrative

If the album rests on the solo identity of its author, it is enriched by masterfully controlled interruptions that mark each chapter of the narrative. "My Brother-in-Law," the second track, immediately sets the tone with light energy and a fast tempo, while "Léa" establishes right away a trusting intimacy between the narrator and his subject. Their appearance here is not a simple repetition of a previous dynamic; they bring an offbeat and humorous energy that functions as a deliberate contrast to the gravity of Black M's lyrics. Similarly, on "Mr. Agent," Naylinz introduces her own touch of humor and lightness with a distinctive flow that moves the conversation forward without ever encroaching on the main rapper's voice. Further down in the tracklist, "No" sees PLK integrate into the project by bringing his characteristic style and unique stage energy, which gives this track an almost festive dimension while maintaining overall narrative coherence. Each collaboration thus intervenes as a chapter of the musical novel, adding a new color without betraying the thread established from the opening.

The collaborative heart of the album

At the center of the album is "Dans mon délire," a track with double featuring where Heuss L'enfoiré and Soolking unite on the same beat. It is indeed a unique collaboration, not two separate songs: their dual presence simultaneously brings Heuss's offbeat humor and Soolking's melodic flow, creating a contrast that immediately enriches the balance of the track. A few tracks away, "Autour de moi" brings Koba LaD and Niro into the musical conversation, proving that features are not there to fill empty spaces but to amplify the lyrical and sonic density of the project.

The poetic voice as a thematic counterpoint

"Pervers narcissique," which appears on track 10, is a notable exception: Barbara Pravi makes an appearance with her vocal contribution, offering a melodic contrast compared to the rapped flows that preceded it. This presence adds a poetic and introspective dimension that contrasts with the density of Black M's lyrics while remaining in service of the album's overall message.

Epilogue: narrative closure with Daks

The album closes with "Bon - Remix," where Daks takes over to offer an alternative version of the opening track. His presence does more than close out the record; it reaffirms Black M's solo identity by showing that collaborations served to build a broader universe without ever erasing the central voice of the rapper. The album stands out for its rigorous narrative construction, where every song actively participates in developing the overarching story. Track 3, "Ainsi valse la vie," introduces right from the start a melancholic and reflective dimension that contrasts with the energy of the opener. It fits into a thematic progression that gradually leads toward the moments of emotional intensity on the record. Track 4, "Léa," marks an intimate turning point within the narrative structure. This song functions as a personal parenthesis at the heart of the plot, where Black M explores themes related to love and vulnerability. This introspection fits into an artistic approach consistent with the concept album format, where each track serves a specific narrative objective. Track 6, "Oh Mama," adds another layer of familial and emotional depth to the story. It inserts itself naturally into the thematic progression of the opus while maintaining the stylistic coherence established by the preceding tracks. This approach shows how Black M uses every song as an essential link in a larger story, where even more subtle moments contribute to enriching the overall message of the record. The collaboration with Bigflo & Oli on "Sale journée" marks a notable break compared to their previous joint appearance on "C'est que du rap," featured on La Vie de rêve in 2018, well before the release of this album. The record also stands out for the diversity of voices that punctuate the narrative: Naylinz on "Monsieur l'agent" adds a touch of self-deprecation and lightness, while PLK, on "No," injects his own stage energy to maintain a dynamic rhythm. These interventions are not simple guest spots, but essential links that enrich the sonic palette without ever erasing the central identity of the project. Every guest, whether well-known or less media-covered, contributes to weaving a narrative tapestry where Black M's solo dialogue with other sound worlds forms a coherent and structured whole. Track 7, "Lucien," fits into a thematic progression that gradually leads toward the moments of emotional intensity on the record. This central position within the album structure reinforces the idea that every song is a necessary link in the story, even when it does not feature an explicit guest appearance. Track 14, "Maître Yaya," marks a tonal break compared to the preceding tracks by introducing a more theatrical and almost caricatural dimension within the plot. This stylistic deviation is not just a formal exercise: it serves to highlight the narrative plasticity of the project, where Black M uses the character as a dramatic tool to question social roles or postures adopted in society. Track 15, "Maman j'arrive," immediately follows by bringing attention back to a central familial figure in the story, creating a contrast between the assumed distance of the previous track and a return to domestic intimacy. This alternation between distance and proximity is fundamental to understanding the overall construction of the concept album. Il était une fois… thus establishes itself as a concept album where every feature is conceived as a chapter of a story that takes shape as you listen. From Bigflo & Oli to Koba LaD, passing through Heuss L'enfoiré and Soolking, each guest inscribes their contribution into a global narrative logic that makes this solo record far more than just a collection of tracks: it is a musical story where Black M's voice unfolds, opens up to other voices, then returns to its original identity to close the circle.

Technical Specifications

- Release Date: September 13, 2019 - Record Label: RCA Group - Tracks: 17 (59 min 17 s) - Opening / Closing Track: Bon - Prologue / Bon - Remix - Guests: Bigflo & Oli, Naylinz, PLK, Heuss L'enfoiré, Soolking, Koba LaD, Niro, Daks