ORELSAN - Le Chant des sirènes

After eight to ten months of creative stagnation, Orelsan imposed a strict work routine to compose his second studio album, released on September 26, 2011. Faced with a blank page following Perdu d'avance (2009), Aurélien Cotentin overcame a creative block by isolating himself in the countryside for a week and blending reality and fiction to write Le Chant des sirènes. He states that he couldn't approach this project casually, abandoning the spontaneity of his early career in favor of an approach where knowing what to say comes before the message and the rhymes. This difficult genesis, marked by a period of creative drought, explains why the album is a demanding and ambitious work.

The discipline imposed to overcome creative block

Orelsan explains that the title comes from the fact that, at his age and in this era, there are many temptations and addictions, far more than in the time of his grandparents, and all his songs address these issues. He also adds that the name comes from the way social media creates temptations for those who are somewhat known and are struggling. To create this album, he threw away thirty songs before finding this mix between rap and singing, this mix between me and not me. He thus introduces more fiction, something he wouldn't have done on his first album, Perdu d'avance (2009).

The album: a difficult but necessary return

The album follows the previous studio album, Perdu d'avance (2009), before preceding La fête est finie (2017). It covers what has happened in Orelsan's life since the first album, including a tour and entering the entertainment industry. The cover is described as a completely black CD, except for the text "ORELSAN LE CHANT DES SIRÈNES" written in small letters at the bottom. The album marks a turning point, where he explains his tour and entry into the entertainment industry, stating that he has "infligé une discipline de travail".

From the single "Raelsan" to record-breaking first-week sales

"Raelsan," released in May 2011, serves as the first single from the album and inaugurates this shift in scale. "Double Vie" is released as a promotional single, before Plus rien ne m'étonne, which reached number 45 in the week of October 2, 2011. The third single is "Suicide Social," which is followed in December 2011 by La terre est ronde.

Moments of brilliance in a sometimes ordinary landscape

For "Goûte Mes Disques," Le Chant des sirènes presents a clear-cut contrast: an album punctuated by moments of brilliance, and unfortunately, also by several tracks that could be considered rather ordinary. This contrast structures the listening experience of a project that followed the first album, Perdu d'avance (2009). Orelsan explains that he felt "reposé sur [ses] lauriers" and experienced a period of stagnation after this first album. For him, writing is not a simple or natural process, and he states: "Je ne peux pas le faire en dilettante." The first step in his writing process is to determine what he wants to talk about. Then, he needs to decide what he will say, and finally, find the rhymes.

The only collaboration: Gringe's return on "Ils sont cools"

The album features one track with a featured artist, as listed in the confirmed featured artists. Track 14, "Ils sont cools" feat. Gringe, marks the return of the artist Gringe to the album. This collaboration recalls the collaboration with Gringe on "Perdu d'avance" (2009). This track appears in a specific position in the tracklist, away from the opening track "Raelsan" or the closing track "Elle viendra quand même". The tracklist consists of a total of 16 tracks. The album's sound and density reach their peak with a total duration of 1 hour and 3 minutes, encapsulating all 16 tracks that structure this second studio album. The album concludes with "Elle viendra quand même," offering a distinct narrative perspective from the opening track, "Raelsan." The tracklist, which spans from track 1 to track 16, reflects a thoughtful approach where Orelsan explores themes ranging from modern temptations to addictions, which he considers to be more pronounced than those of his grandparents' era. This exploration is reflected in a rigorous selection of content, leading the rapper to reject around thirty songs before finalizing the album. The minimalist cover, consisting of a black booklet containing the lyrics of key tracks such as "Raelsan," "Le chant des sirènes," "Si seul," and "Suicide social," reinforces this artistic demand. The album is published under the labels 3e bureau, 7th Magnitude, and Wagram Music, solidifying Orelsan's position in the French music scene. Beyond his solo discography, "Le chant des sirènes" illustrates an evolution where the artist abandons spontaneity for a more disciplined approach, moving away from his initial image as a dilettante. This rigor is accompanied by an introspection on the new social realities, particularly the impact of social media platforms like Facebook and Twitter on human interactions and psychological temptations. This album holds a pivotal position in Aurélien Cotentin's career, serving as a bridge between the media attention of the early 2010s and future projects such as "La fête est finie" (2017). The inclusion of Gringe on "Ils sont cools" represents the only featured artist, marking the return of this former collaborator while maintaining a stylistic consistency that distinguishes this album from the remixes of 2010. The official release on September 26, 2011, confirms the importance of this project, which required a total artistic investment, far from the dilettantism that he claimed during his youth. The artist, in fact, forced himself to work according to a rigorous method, refusing to allow the writing to come naturally, as it had on some tracks of "Perdu d'avance." The opening track, "Raelsan," which references the founder of Raëlism, establishes an introspective tone from the very first track, contrasting with the album's conclusion with "Elle viendra quand même." This structure frames the recurring themes of addiction and modern temptations, thus validating the artist's intention to describe an era where digital sirens replace the old myths. Orelsan continues his artistic evolution by introducing an omniscient narrative dimension, where he takes on the role of a narrator observing the protagonists of a society in decline. This approach stands out from the first opus, "Perdu d'avance" (2009), and announces a maturity that culminates later with the album "Civilisation" (2021), well after the release of "La fête est finie" (2017). The album's structure, spanning 1 hour and 3 minutes for 16 tracks, reflects an exigency where each track serves to open the eyes of different citizens to the dark sides of their era. The artist refuses dilettantism by imposing a rigorous discipline, not allowing himself to leave or see his friends during the creation process, even to the point of isolating himself in the countryside for a week alone. This rigor explains why he threw away around thirty songs before finding the right mix between rap and singing, a mix that he would not have been able to assume before. The album not only tells his life from the first album, including a tour and entry into the entertainment industry, but also addresses universal themes such as temptations and addictions, which he considers to be more pronounced than those of his grandparents' era. The minimalist cover, reduced to a black booklet containing only the lyrics of key tracks such as "Raelsan," "Le chant des sirènes," "Si seul," and "Suicide social," reinforces this artistic sobriety and refusal of superficial spectacle. The success of this opus lies in its ability to transform a personal crisis into a structured work. This second studio album by the French rapper Orelsan confirms the transition to a more demanding and ambitious approach, blending rap and singing.

Technical specifications

- Release date : September 26, 2011 - Label : 3rd studio, 7th Magnitude, Wagram Music - Tracks : 16 (1 hour 3 minutes) - Opening / closing : Raelsan / Elle viendra quand même - Guest artists : Gringe - Previous album : N'importe comment (The Remixes) (2010)