A giant of French hip-hop, Oxmo Puccino is, like many of his contemporaries, a native of one of France’s many former colonies, in this case, Mali. He is also, like most of his contemporaries, a relative unknown outside France.
Puccino is fêted in his home nation as an authentic French disciple of the stylish American rap scene of the 90s (particularly the Notorious B.I.G.): a lyricist and a master of disturbing but poetic images which document life in his native 19e arrondissement. Indeed, so iconic has he become in his 20 years in the business, that he has collaborated with virtually every other hip-hop artist in France at one time or another.
Ironically, this combination of influences, plus an appreciation of jazz, is what makes Puccino so quintessentially French, at least in music terms. What elevates him above his peers, however, is his fluid, lyrical delivery and a fastidious consideration of the poetry of the French language, unrivalled in French hip-hop, except perhaps for MC Solaar.
Rap Français is, at the best of times, a fairly impenetrable genre for non francophone listeners. Lyrics are often a bewildering mælstrom of slang, references & place names and generally speaking, French rappers have tended to focus on social issues, rather than the trials of gangsta life. But to persevere is to be rewarded.
Even if you don’t understand a word of S’13 6.35, the sounds it contains, the jazz influences and the endless sibilance and alliteration are mesmerising.
S’13 6.35 is taken from Puccino’s creative and commercial breakthrough l’Amour est Mort (2001).