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Dans l'introduction, Abd Al Malik ironise sur le texte de sa propre chanson “Gibraltar”, sortie 13 ans plus tôt, dans laquelle il parlait d'un jeune noir qui aspirait à réaliser son rêve de rejoindre l'Europe.

En 2019, cependant, le rêve, même après avoir passé Gibraltar, a plus des allures de cauchemar qu'autre chose.

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“La Vida Negra (Aquarius)” est le premier single extrait de l'album Le Jeune Noir à l'Epée (Vol. 1) d'Abd Al Malik.

Sorti trois semaines avant l'album, le 6 Mars 2019 et accompagné d'un clip réalisé par Ernesto “La Luz” de Santis, la chanson traite de la survie (et souvent de la mortalité) des réfugiés africains tentant de rejoindre l'Europe clandestinement par la mer.

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Le Jeune Noir à l'Epée (Vol. 1) est le sixième album solo d'Abd Al Malik, sorti le 27 mars 2019. Son titre est inspiré du tableau Jeune Noir à l'Epée de Pierre Puvis de Chavanne.

Présent sur 4 des 9 pistes, son frère Mattéo Falkone est inscrit comme collaborateur sur l'album.

5 des 9 chansons contiennent un extrait du poème “Bénédiction” de Charles Baudelaire, récité par Abd Al Malik.

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The song’s expansive instrumental introduction includes sound clips taken from on of Winston Churchill’s most famous speeches, usually titled “We shall fight on the beaches”.

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Londinium is the début album from British project Archive, initiated by two former DJs, Darius Keeler and Daniel Griffiths.

The only LP from Archive’s first incarnation, it features a distinctly melodic breed of Trip-hop music, encompassing the synthetic basis of the genre as well as several instrumental leads, from synthesizers as well as acoustic instruments such as a violin.

The vocals blend together rapping provides by Rosko John and singing by female singer Roya Arab.

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Texaco (initialement le nom d'une firme pétrolière américaine) est le pseudo du manager et responsable promo de Fabe à l'époque.

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This song is played during the film’s climactic scene. Without going into spoiler territory, the song’s soft delicacy is in stark contrast with what happens on screen. It is thus instrumental in making the scene work, as its over-the-top nature could be ridiculous with a more regular horror-film score

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This very line is sung in almost the exact same melody as George Gershwin’s gigantic jazz classic “Summertime”.

The lyric itself also strongly resembles the first line of “Summertime”.

Summertime, and the living is easy

For reference, “Summertime” as sung by Ella Fitzgerald.

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Part 10 shortly returns to Part 4’s atmosphere, to then shift back to Parts 1 & 3’s scheme, making it a return to the main theme of the song for a coda finale.

This process makes it so that Parts 3 and 10 (main theme of the song) are connected through Part 4 to the bulk of Parts 5, 6, 7, 8 and 10, which can be seen as a long departure from the main theme.

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Part 3 marks the return to the main theme of “One Of Those Days In England” (the first track of the album and implicit Part 1), which will only then come back with Part 10.

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