MUSIQUE
JANUARY 13, 2025 TEXT by Carl Foading
Mental by Yseult :
a daring rock
venture ?
The project finds its core in rock, which is a genre derived from Rhythm
and Blues music of the 1940s in the United States.
Rock is therefore the fruit of the work of Black artists, which makes
it questionable as to why Black artists today struggle to be recognised
in the genre.
The French-born Cameroonian artist has expressed frustration
about her work not being valued as much as she believes it should be.
This led to internet conversations in which many seemed to believe
that Yseult was “overreacting” and that the project “did not
deserve that much attention”.
The state of today’s music scene seems to not be holding space
for an album like “MENTAL” to be valued and appreciated by the culture,
despite its genre’s origins.
It appears that many artists today are under the obligation
of conforming to genres such as R&B to be considered worthy of a listen.
If we go back to the roots of rock, we discover that it was shaped
by Black artists like Chuck Berry, Little Richard, and Sister Rosetta Tharpe,
who laid the foundations of what would become one of the most popular
genres in the world. Over time, the image projected by the genre became
increasingly uniform, with little recognition or celebration
of its pioneering artists.
Yet, over the decades, rock was progressively whitewashed,
with white figures like Elvis Presley, The Beatles, and Led Zeppelin
being pushed to the forefront, while Black artists were relegated
to the shadows of history.
Their work took longer to be appreciated by the rock audience,
which may have initially been fixated on appearances.
This dynamic persists today: when a Black artist returns to rock sounds,
they are often met with skepticism or even rejection by both the public
and the industry. Figures like Lenny Kravitz, Prince, or more recently
Willow Smith have had to fight to be taken seriously in a genre that,
in many ways, belongs to them.
for a Black Francophone artist.
This album, influenced by metal and alternative rock, is an explosion of rage and vulnerability,
where she expresses her pain, struggles, and resilience. The tracks are marked by distorted guitars, piercing screams, and raw production, sharply contrasting with the pop and chanson française where she was previously categorized.
This reinvention has not been without consequences: the critical reception has been mixed. While some praised her boldness, others downplayed the album’s impact, illustrating the challenges a Black artist faces in establishing themselves in a genre where they are not expected.
Reclaiming Rock’s Legacy
Yseult is not alone in facing these barriers. Other Black artists are also striving to reclaimrock and metal, reminding the world that these genres are deeply rooted in Black heritage.
But the path remains difficult—audiences, the industry, and the media must still
dismantle the idea that rock is inherently white.
With Mental, Yseult is not just making an album—she is sending a powerful message:
Black artists have every right to their place in rock, and it’s time for the music
industry to fully recognize it.
Rock is one of the most prominent genres in today’s music scene, and if we rewind its history,
it is clear that Black artists such as Chuck Berry, Little Richard and Sister Rosetta Tharpe
have had an influence on how it sounds to this day. Yet, today, these pioneers are not often acknowledged by the rock scene, and the genre’s image is standardized to appeal
more to the general public.
Throughout the years, artists such as Elvis Presley, The Beatles and Led Zeppelin have received many accolades, while many Black artists have not been given the same amount of recognition.
before the quality of their music was appreciated by the public.
This dynamic is still present in today’s music, in which an artist such as Willow Smith
is gauged with skepticism when she puts her foot into the rock universe.
Mental was a way for Yseult to distance herself from expectations
placed on her as a Black woman in the French music industry.
This album is inspired by metal and alternative rock, and it is the reflection
of Yseult’s various emotions (je préfère pas dire “rage” perso sachant qu’on parle
de la place de la femme noire idk). She gives herself the space to display
a palette of thoughts, from her experiences with love to her sorrows.
The songs are punctuated by distorted guitar sounds, as well as a sort
of rawness that contrasts with the French pop that people expect
from an artist like Yseult.
This musical choice is daring, therefore, it is making the public dubitative.
While some celebrate Yseult’s boldness, others find her music and image incoherent.
This highlights the difficulty of being a Black artist diving into a genre in which
they are not expected.
Many artists such as Yseult are eager to put more light on rock music, being cognizant
of the genre’s origins. They therefore have to face the fact that the music industry
is rather slowly getting accustomed to Black artists being at the forefront
of Rock & Roll
Mental by Yseult is the representation of the fact that Black artists deserve
room in the rock genre, which is something that is getting recognized more and more.