A towering figure in French rap has just made his long-awaited comeback. The story of Disiz (La Peste) began with a gripping storytelling debut in “J’pète les plombs”, a track inspired by the cult film “Falling Down” starring Michael Douglas, released around the same time. A true musical shapeshifter, the artist often embodies different characters in his songs. As he explained to Grabuge magazine: “David Bowie or Lady Gaga—they play full-time roles. Me, I occasionally step into characters here and there. For instance, J’pète les plombs is a persona, and I really exaggerate the traits.”
Constantly evolving, Disiz has released one ambitious project after another. Following his introspective trilogy—Lucide, Extra-Lucide, Trans-Lucide—he dropped Pacifique, a more meditative album that some fans felt was too mellow compared to his earlier raw energy. He later returned with a vengeance on Disizilla, once again proving his ability to reinvent himself. Today, he remains one of the rare artists committed to building concept-driven albums with a level of cohesion reminiscent of the golden era. His previous record, L’Amour, earned gold certification—a title that couldn’t be more fitting.
With his latest single, “Ton ventre”, Disiz continues his introspective path. The track pays tribute to his mother, but also to love in its broadest, most complex sense—hinting at an almost Oedipal dynamic. Maternal tributes have become a rite of passage in rap, as many iconic artists have taken part in that tradition: from 2Pac with his unforgettable Dear Mama, dedicated to his Black Panther mother, to Pit Baccardi and Loin de toi, and more recently, SCH who chose to honor his father in Otto. Yet, the maternal figure continues to occupy a sacred space in rap culture. Even the D.U.C himself joined the conversation with Pitbull.
Disiz’s most personal confessions in “Ton ventre”
The instrumental is crafted by a talented trio: Prince Lao, Emmanuel Camy, and Théo Philippe. Prince Lao had previously worked with Disiz on L’Amour, while Emmanuel Camy produced the track Quarante-cinq. Camy has also collaborated with artists like La Fève and Béesau, most notably on the track Adieu. The production on this song is airy and expansive, creating a dreamlike atmosphere that complements Disiz’s emotionally layered lyrics. The result is a delicate blend of maternal and romantic love, memory and imagination.
The lyrics shift away from the sharp punchlines Disiz is known for, exploring a softer, more introspective tone—closer to alternative pop. He writes:
A man secretly mourns his mother
The fruit of a bittersweet story
On an RER platform
Some affection, a bit of weed
We cope the way we can
Think I’ll go lock myself away a while
The music video opens with a striking visual: the artist seemingly “born” from a manhole—an explicit reference to a legendary punchline by Oxmo Puccino from the track Le passé reste, featured on Freeman’s iconic album L’Palais de Justice:
Uh, uh, uh, uh, uh, I’m so street, maybe
I think I was born from a sewer grate
The clip then unfolds into a surreal, dreamlike sequence, filled with symbolic imagery—waves, mothers, women, submersion. Disiz opens a vulnerable chapter of his inner world through poetic and deeply personal visuals. The video is co-directed by Luana Bajrami and Sandor Funtek. Bajrami, who recently won an award at the Clermont-Ferrand Film Festival, was also part of the creative team behind Two People Exchanging Saliva.
