#streamcaribbean "Féeries" by Rachelle Allison
The #streamcaribbean chronicles for 2023 continue. After Lorenz and his "Lunatiq" EP (January), Kevni and his "INEVITAB" EP, Yoan and his “Gemini II” (February), it's time to talk about Rachelle Allison’s "Féeries" [t/n: féeries = fairy tales/ fairy things] released at the end of February.
In my #streamcaribbean discussion with Meemee Nelzy, I mentioned my small regret about not having grown up with a Guadeloupean singer whom I would have seen as a cousin or even an older sister. This woman would have sung about her experiences, which would have helped me to get a better understanding of our society at the beginning of the 21st century, with sounds from home, examples, and metaphors that would have spoken directly to me... She would have been a voice that would have shown me a femininity different from the norms imposed on us. And I think that Rachelle Allison has carved out this lane for herself.
While it's difficult to define her pre-2019 artistic ambitions, her "Esquisse" EP (2019) marks an evolution. Over the next three years, she released a string of tracks but stuck to her initial strategy of presenting herself through collaborations. From being the playful lover in "Pitché" with Matieu White to the protective big sister in "Ma Petite" with Meryl, the seductress in "Animal" with Jok'Air or the fulfilled lover in "Kind Love" with Lu City, her artistic explorations in the album "Si J'étais Pire" (2021) pave the way for the storyteller image that emerges with "Féeries".
I won't dwell here on the all-male collaborations on this album, which has already racked up over a million streams on Spotify. Between “Trophy” featuring dancehall singer Jahyanai from Guyana, “Liquid” featuring trap singer Railfé from Guadeloupe, “RAF” featuring French rapper Jewel Usain and “Le Mental” featuring French afro pop singer Ya Levis, she moves easily from dancehall to Afropop, via trap and some R&Bfied rap. Her 10+ -year career can be heard in the mastery of her versatile voice.
On the other hand, this image of a woman living her sexual freedom shines more brightly in her solo tracks, as her lyrics tell of love in all its vulnerability and sensuality. Opening the album with "Secret" and "Capitaine", she sings about the passion and excitement of the early stages of a love relationship. Then "All You Need" and "Tous Les Jours" let us (re)experience the uncertainties between a love story that can't end and a love story that can't begin. Finally, "Imparfaite", "Too Hot" and "La Nuit Tombée" reflect the ambivalence in our search for intimacy. It's easy to accuse the other of toxic behavior, but are we sure that we always behave correctly in all circumstances? Without pretending to give the right answer, Rachelle Allison invites us to look within and ask ourselves what we’re prepared to put up with or make others put up with out of love for the other person and/or lack of love for ourselves. With that said, a chaotic ending to a story doesn't necessarily mean an unhappy ending.
In conclusion, "Féeries" is the album that my teenage self would certainly have had on heavy rotation in her mp4 player without necessarily understanding everything. As I’d have grown older and got through new experiences, some of the lyrics would have made perfect sense. As an adult, I'm discovering it at an age when I appreciate hearing about love and sex, with all the contradictions that we can really feel. Musically, the album has enough to satisfy die-hard fans and appeal to the public who prefer urban pop to our zouk. With the Caribbean trend back in full swing in the American music market, and with afro(love) pop being the winning trend in the French market for the past five years, it will be interesting to see how Rachelle Allison positions herself to stand out in the months to come. What's your favorite track on this album?