After unexpectedly going gold with Akimbo, Ziak continued his journey with Chrome, before delivering Essonne History X. This new release marks a bold shift in his discography — a dive into experimentation, rich with stylistic explorations and calculated risks. Having carved out a distinctive presence in the drill scene, Ziak now moves fluidly between genres, revealing a more nuanced artistic range than ever. Between Story, Manuel de Vengeance, and the newly released Maudit Land, he offers us a vibrant sonic kaleidoscope.
With 8,411 copies sold across all formats in its debut week, Essonne History X marks the slowest start of his career. However, this figure is offset by impressive streaming performance: the album has already surpassed 32.7 million streams on Spotify — a testament to his loyal and engaged fanbase.
During an interview with Mouloud Achour following the release of Chrome, Ziak revealed he wanted to “close the chapter opened by Akimbo”. This statement sheds light on the direction taken with Essonne History X, a title clearly referencing the cult film American History X. Through this parallel, the artist seems to be grappling with the weight of the past. With Akimbo and Chrome, he had already explored the contrasts of fame, laced with an underlying “coldness” — “the coldness of my heart”, as Achour pointed out. Is Ziak now suggesting that his darker side may never truly leave him?
The latest video, Maudit Land, continues the visual and thematic thread of Manuel de Vengeance.
Ziak steps into Maudit Land!
The production is handled by Seezy, a trusted sound architect for Vald, and also a collaborator on projects with Wejdene, SCH on the haunting La Pluie, as well as with Dinos and Zed on Stacks. On Maudit Land, Seezy crafts a dramatic atmosphere, driven by a heart-wrenching violin sample layered with a deep, modern bassline. Ziak slips into an elusive flow, far removed from his signature aggressive delivery — echoing the tone he set in Manuel de Vengeance.
The rapper delivers his punchlines with near-literary precision:
“I’m in Paris, in this small city, dressed like a fine gent
I see broke fathers flirting with alcohol comas
I roll a stinky joint, pushing my limits (My limits, buh)
I love rum and I love music — it’s in my genes”
The visuals of Maudit Land mirror those of Manuel de Vengeance. Where the earlier video featured a man watching through blinds in what resembled an interrogation room, this one presents a young man wounded on a battlefield, again captured in a wide shot. This diptych, directed by Denys Bourbier, carries a strong cinematic weight. Bourbier is also behind the visuals for Story and Belle Madame.
