Everyone needs orientation. Something to cling to. That's why we make categories.

That's why we point out characteristic peculiar features and compare. When it comes to music, we may distinguish between music made for an audience and music made for oneself; in the latter case, music serves as a mean to deal with circumstances of life, a vehicle where even old and rusty pieces finally find their place and make sense. By giving nebulous bits a clear-cut shape, grabbing what has been around for years without finding expression - or without even being noticed - individual points of reference are created.

At the risk of being awfully esoteric, we could claim that, while working at 113 "Fout La Merde", Mokobé, A.P., and Rim-K followed similar pathways - intentionally or unintentionally.

1. Where we are:

It was "A L'autre Côté De La Rue" (at the other side of the street), in house nr.113 where three friends met up ten years ago. Since then, they have been making music together, going through various struggles life has in store. In this sense "Le Guide De Loubard" and "113 Fout La Merde" are retrospective and program at one time; rhymes about daily life in a French banlieue: "we're still doing what we've been doing for years" ("113 fout la merde…c'est ce qu'on a faisait dans la jeunesse, mais maintenant, c'est ce qu'on fait dans la musique"). Moreover, these tunes link up with the last album "Les Princes De La Ville".

2. Where we come from:

But it's 2002 now and this time they go beyond. It seems like the subject of origin and different backgrounds is now tackled with even more pensiveness. "Traffic" speaks about 'human traffic', about the problems which arise when someone is willing to leave his country. The hard bits of 'clandestinité'. Similarly, "Les Bronzes" holds in its core: "je suis né bronzé", displaying how this fact influences everyday French life. Do not suppress the differences seems to be the hinge: by extracting elements from different sides (cultures) we create new ways to handle eventual difficulties.

3. Who is with us/ what's important:

However, what makes the world go round is friends and family ("La Familia") and all the little things that we love only just because they belong to ordinary life ("On Roule, On Rôde"). 'Le rap' finally, provides the light for day and night "c'est ce truc que j'aime qui alimente ma vie…" ("10ème Bougie").

It is indeed striking that for the most part, music and rhymes go together like camels and desert. Taking in concern also the content, a subtle tenderness is produced - without being all too pathetic. Did they have in mind that even (or especially) 'loubards' could capitalize on disposing honesty and vulnerability? We may criticize. But regarding the music which is holding together the rhymes, questions about credibility disappear as soon as they arise. This is mainly thanks to DJ Mehdi, one of the rough diamonds in French hip hop. "Princes De La Ville" already had been produced by him for the most part. He not only produces moods through melodies, he also provides the right glue to stick music and rhymes together, thereby creating new reference points. Africa and France alternate, traditional instruments merge in electronic music.

Whatever the impulse, it had been a necessity for sure something was going on in French rap, which (exceptions not easy to be found) had been stuck in all-the-same for years. Electronic music seems to be the magic word and DJ Mehdi is no longer the only one to swing the wand. However, time had come to move away from heavy piano samples and string choirs, all too long worshipped, and blow some fresh air into the whole matter. Most tracks on this album are lightly arranged, displaying once more great musical diversity and relevance. Another striking argument why French rap deserves more attention these days.