Pare Baal Unveils the Project “Do Not Judge a Book by Its Cover” (NPSFLC)!
In 2022, Pare Baal surprised everyone with “Fortitude Sud”, a uniquely crafted project that stood out in a rap landscape dominated by American influences. Now, he returns with “Do Not Judge a Book by Its Cover”, a tribute to Philip K. Dick, the master of 1960-70s science fiction. Known for his introspective stories about identity and human consciousness, Dick often saw his profound works published with caricatured covers, far removed from their true depth. Staying true to this spirit, Pare Baal delivers a musical reflection where futuristic sounds and engaged messages blend seamlessly, inviting listeners to look beyond appearances.
Right from the opening title track, the tone is set. Pare Baal revisits the voiceover from the Psy4 de la Rime song “Le Message” (from the movie of the same name) to boldly criticize the music industry. With “M.A.O”, the artist drives the point home with sharp punchlines such as: “They’ll never retire like Attali since Mitterrand” and, in “Anticythère”: “I’m shooting at them with anti-stress bullets.” Words that hit as hard as the accompanying music production.
NPSFLC: A Sonic Mosaic Fueled by Rebellion
While many emerging rappers stick to dominant trends like trap, drill (popularized by Gazo), or cloud rap, Pare Baal proudly claims his eclecticism. Each track explores a different vibe, defying categorization. The beatmakers of ma.generation — L. Donhebeat, Hikitaï, Nabil Ifourah, TheNite, and Nicolas Jan — craft modern productions enriched by composers with a focus on pop and electronic music, such as Matthieu Perrin and Wy’zat (the stage name of Johan Delettre, known for house remixes like “J’veux me faire beau”).
“M.A.O” alternates between powerful rhythms and futuristic flourishes, while “Anticythère” adopts a calmer tone without losing its avant-garde essence. In “Dinosaure”, Pare Baal explores an electro universe driven by a sample reminiscent of “Dans la Minute” by Rohff and Humphrey. Hikitaï, on the other hand, brings a retro electro style to tracks like “Codex”, “Nouvelle Jérusalem”, and “Parasympathique”. Finally, “Pou pou pidou”, produced by Boris The Blade, TheNite, and Nicolas Jan, draws on rock influences reminiscent of Eminem hits such as “Rock Bottom” or “Berzerk”. A captivating reinterpretation of Marilyn Monroe’s famous slogan, transformed into an anthem of solitude.
NPSFLC: A Work Rich in References and Engagement
Known for his straightforwardness, Pare Baal doesn’t shy away from tackling diverse themes with sharp lyricism. Unapologetically, he targets the music industry, society, and ideologies, as evidenced by this striking punchline: “I guess I’m all alone, so I’m boxing against the referee.” Literature, politics, and cinema intersect in his lyrics, where he mentions the inner struggle in Fight Club (between Edward Norton and Brad Pitt) or cites The Little Prince by Saint-Exupéry with “Draw me an electric sheep”, a direct nod to Philip K. Dick.
The album, while criticizing societal and industry issues, offers a universal reflection on themes like love, disillusionment, and the quest for truth. While Kery James laments “the disappointment” of France in “Meilleurs Vœux”, Pare Baal seems to embody someone who has taken the red pill from Matrix: “I’m in a Paralympic form” or “It’s in hell that paradise is found.”
An Artistic Gamble Breaking Free from Conventions
Accompanied by dark and conceptual music videos, this album proves that Pare Baal, on the rise, refuses to be boxed in by commercial expectations. Going against industry standards, he prioritizes a sincere and thoughtful artistic approach. In his relentless quest for truth, where music becomes a tool for rebellion and catharsis, Pare Baal reaches new heights, driven by rare creative freedom.
