#streamcaribbean - "Le Crépuscule des Lions I" by Paille (June 2024)

To conclude this series of album reviews, let's discuss Paille (Martinique) and his EP "Le Crépuscule des Lions I" [The lions’ twilight part.1]. 

Let me remind you that I don't listen to dancehall, so I listened to his first albums to get an idea of the path he took leading to what seems to be a turning point in his artistic development. “Le Crépuscule des Lions” follows the structure of "Mots pour Maux" (2007) and "Inflammable" (2011), with an intro where Paille introduces himself to the listener. But instead of going into battle with the outside world, "Le Monstre" [Monster] opens the door to an exploration of the darker side of human nature.

A few years ago, I sketched out an analysis of male artists who compare themselves to the figure of the Monster, based on Admiral T and Korean rapper Drunken Tiger (Tiger JK). Listening to this intro, I get the impression once again that men are afraid of their vulnerability and need to use the monster figure to express their dark side. And each song offers a variation on the masks we wear to look good in society. Or rather, what lies behind those masks. 

Soca tracks like "R. O. D. R" or "I Don't Care" invite us to let go and enjoy the moment. "Krazé Kay La" has a dancehall instrumentation and can be heard as an artist's manifesto to stand out. Obviously, the tracks that interest me most are those about romantic love: "Comme Papa", "Friendzone" and "Nou Ka Fé Yann". This isn't the first time Paille has sung on this theme, but this time he's more focused on the search for emotional intimacy even within physical intimacy. I reviewed the music video for "Comme Papa", which, for me, satisfies a male gaze. Generally speaking, despite the fluidity of the writing and the desire for realism, the lyrics of these three songs oscillate between the sentimentalism and eroticism that I find in contemporary "French West Indian" literature. Love appears as this uncontrollable feeling that men consider to undergo especially in the absence of reciprocity; the monogamous love relationship exists only in the "ride or die" ideal where one must renounce one's individuality... In fact, love never appears as a choice reflecting maturity. 

With "No We Can't", Paille resumes his role as storyteller, recounting slices of life in which each character is faced with the choice of taking revenge for a humiliation: the man in a coma who is robbed of his life, the young woman who is betrayed by her best friend, the young Martiniquan man victim of racism. The rock instrumentation lends an energy that invites you to listen to the next installment. 

In conclusion, "Le Crépuscule des Lions" is a meticulously constructed project. I'm not familiar enough with Paille's music to know if he's stepped out of his comfort zone. In any case, it's undeniably a Caribbean EP. Whether he'll promote it to a Caribbean audience remains to be seen.

My Karukerament tracks

Honestly, all the tracks. "Le Monstre" and "No We Can't" are the tracks that would make him stand out in the Caribbean region.