Carte blanche – DJ Snake: Review

Before starting this article, I will stipulate a few facts. Firstly, I am no renown journalist, music critic or even a musician with all the technical terms. Therefore, this article comes from a fan, not only of DJ Snake but also of electronic music in general. Secondly, this is my first music critic. I will explain in a later article my passion for music and more specifically electronic music/house. That being said, I have listened to Snake’s new album, Carte Blanche, that came out on Friday 26th July 2019. Having had two weeks to thoroughly go through it, watch every possible interview and PR stunt from the artist in this time, I think I have reached a certain level of understanding of this album and what are my thoughts on it. As I said before, this comes from a simple fan, with limited expertise. Taking all this into account, I hope you enjoy the review.

DJ Snake, original name William Sami Étienne Grigahcine, was born in Paris in June 1986. He grew up in a poor neighborhood in the suburb of Paris, a city he is most proud of. Not only did he grow up there, with all the cultural variety which arose from the numerous immigrant communities in the area, he also started his first career there in tagging walls. Already a creator back then. He signed his art with Snake, which he kept as his stage name. His two albums have covers referencing Paris: Encore has a Metropolitan sign which is the entrance to most metro stations in the capital, while the latter album has the Arc de Triumph. From this cultural variety, his music tastes were impacted. Hip-hop, rap or even rhythms from Africa or reggae. We can see these influences in many of his previous singles but particularly in this album. While he wasn’t always destined for a music career, he recounts in many interviews he was that shy kid at the back of parties who would play the disks for the group to dance to. He took his kick from that. Slowly, he started learning more about music, mixing, beatmatching and all the things that come with the industry. He listened to many French artists in the electronic industry as well, such as Mr. Oizo or Cassius or maybe more known to the greater public, Daft Punk.

He launched his mixing career by mixing in clubs in Paris, like his predecessors. While David Guetta got famous in gay clubs, where he introduced the early stages of house, DJ Snake started in hip-hop oriented clubs. While it helped him get started in his career and he was earning a bit of money, all this was going straight back into the vinyl he was playing. Times were rough and he wanted to start producing and actually make a breakthrough. Then came his time in the US, where he produced for a while with artists such as Lady Gaga, without being really recognized for his work or truly listened when he came up with new fresh ideas. His bank account was in negatives, he wasn’t going anywhere, and he needed to start making some money soon otherwise he would really get off track with his life. While this was a first major setback and he went back to France. There, he locked himself up in a studio for the whole of a summer to produce, to find his own sounds and come up with something groundbreaking. That’s when “Turn Down For What” came. His career exploded from there, making this track iconic yet so simple, at least it seemed. A few months passed and then came the second single, the one that really installed him in the music industry to prove he wasn’t a one hit wonder. “Lean on” with Major Lazer and MO. Huge track which rocked the world and everyone’s summer that year. While Diplo, crucial member of Major Lazer, was known to the great public for his innovative ideas, Snake’s twist on the track really brought him into the daylight.

His career blew up massively. “Let me love you (ft. Justin Bieber)”, “Talk (ft. George Maple)”, “Middle (ft. Bipolar Sunshine)” but my favorite “Here comes the night (ft. Mr. Hudson)” are all present on his first long album, Encore. A piece of art, but at the time seemed to him like it would be the only album he would ever produce: “albums are done, no one has the time to listen to a whole album anymore” to quote him. After an epic year of 2016 with his album, which revealed his hybrid music tastes as “Propaganda” and “Ocho Cinco (ft. Yellow Claw)” were more festival and club bangers compared to the more pop side with “Let me Love you”, his 2017 year was pretty special. After releasing “A different way (ft. Lauv)”, he was invited to do a set on the top of the Arc de Triumph in Paris. According to him that’s when he decided to start a new two year-long project to create a new album, something different. Which brings us to Carte Blanche.

While several songs were released as singles before the album came out, we will discuss the masterpiece track after track in the way they are presented in the album. I will mention bangers which came out in 2018 but didn’t make the album: “Let’s Get Ill (ft. Mercer)”, “Made in China (ft. Higher Brothers)” and the smoother “Maradona Riddim”. Now for the album. Generally, as we start seeing with all of Snake’s music, there is a variety of sounds and origins in these tracks. Latino, reggae, rap, future house, dubstep, Indian and African melodies. A big mix which takes us on a journey across the world in a sense, with a calm track to start and one to finish, with bangers for festivals as well as pop for radio. Yes William, for albums like these, we have time to listen to all of it from start to finish.

Track 1, “Butterfly Effect”. A very slow rise, peaceful track, similarly to what he did with “A86” on his first album. A certain mystery, similar to the ambiance from “Stranger Things”, arises from this track. Two minutes in, he introduces more bass and drums for a more epic feel to the song. The title gives us the sense of a new beginning, as if he had taken a turn in his career with this album, and this was the start of something special.

Track 2, “Quiet storm (ft; Zomboy)”, is very different. It starts with traditional African singing which he sampled from tribal songs. The collaboration with the young Zomboy brings eventually a dubstep drop, something you can headbang to for sure. Between the drops, we get reminiscence from Track 1, before quickly cutting back to a speedy build up and radical drop which he has played in his sets, setting the stage on fire.

Track 3, “When The Lights Go Down”, which he produced alone, is unmistakably resembles “Ocho Cinco” with voice cuts, a happier vibe and electronic sounds to complete something close to the dubstep universe. Would not expect him to play this at a festival but it is a good album track to connect the songs.

Track 4, “Recognise (ft. Majid Jordan)”, is a gentler ballad, closer to a sweet pop track like “Talk”, perfect for the summer background music at the beach or a chill party at home. Makes me think of “Starboy” by The Weekend and Daft Punk nearly, one of Snake’s inspirations.

Track 5, “No More (ft. ZHU)”, a collaboration with an artist who kind of disappeared since that one single “Faded”, a very mysterious track, close to a genre called “Electro chill” which is very popular in the summer. Easy listening really. DJ Snake was fond of the artist and we truly inspired by the work they produced together, something close to “Faded” actually. Would recommend “Working on it (ft. Skrillex)” by ZHU while we are discussing that artist.

Track 6, “Made In France (ft. Mercer, Tchami & Malaa)”, which is one of the tracks that was the most awaited for. William has been playing these in a few sets and it gets the crowds going. This collaboration with his friends from the group Pardon My French really emphasizes bass drops, a very present feature in Malaa’s work. “Before we get started, I wanna know one thing” as is repeated throughout the track, it’s very effective. Heavy drop, house rhythmic and a dream line up, what else can you ask for. The group got together to not only collaborate on numerous occasions but also to promote young French talent, which DJ Snake felt he didn’t get when he was crashing onto the big stage.

Track 7, “Enzo (ft. Sheck Wes, Offset, 21 Savage & Gucci Mane)”, is the first song of the album that was out before the album as a single. Not only does it follow the darker core of the album set out by Track 6, it really shows the artist’s versatility, a DJ capable of doing festival dubstep bangers but also great trap tracks. You can tell there is a great instrumental part to this song: DJ Snake started off by wanting to mix rap and his affiliations to electronic music, and eventually trap came out which really suited him. “Made In China” or “Oh Me Oh My (ft. Travis Scott, Migos & GASHI)” really feature this trap side of DJ Snake. It is very catchy and even for the fans of the artist’s electronic side, this can suit them too. Although, DJ Snake underlines the fact that he doesn’t make music to suit people and create just hits, he creates music he loves, music that can suit his different genres and make him travel. If they are hits, great, otherwise it was great to produce a track like that.

Track 8, “Smile (ft. Bryson Tiller)”, follows this trap sounds although being more of a chilled-out track. There is a real search to create a universe here and although I think it is one of the weakest tracks on the album, I think it would be easy to develop great ideas for a clip video.

Track 9, “Try Me (ft. Plastic Toy)”, a showcase of DJ Snake’s willingness to work with very young talent. Plastic Toy should be coming up with new music in September, but his debut single is very promising. I would assimilate this to Future House, maybe not so much what Don Diablo is capable of going, maybe more like Zonderling but it could definitely follow the guiding artistic line set out on the Hexagon label. Relaxing track after a few hard-hitting ones and before attacking to Latino part of the album. Second track to have come out as a single first.

Track 10, “Loco Contigo (ft. J. Balvin & Tyga)”, this is the first Latino track of the album featuring the master of reggaeton, J. Balvin. A memorable rhythm, very easy to hum in the crowd of a festival (see DJ Snake’s Twitter for the crowd singing this). You can feel the summer and fire in this track and Tyga brings a bit of rough love after J. Balvin’s steamy performance. You feel like being on the beach, a Corona in the right hand and the other to balance your body when dancing ridiculously. Third single.

Track 11, “Taki Taki (ft. Selena Gomez, Ozuna & Cardi B)”, probably the biggest hit of this album. Huge success since its release, it is Snake’s first track in Spanish. It features the sweet voice of Selena Gomez which brings the fiery side of the song, Cardi B the crude and entraining voice and Ozuna who is starting to make a name for himself on the Latino stage. So effective with “Taki Taki Rumba!” sticking in everyone’s heads for the whole summer. And well, the rumba and other hot dancing usually follows on that flute drop.

Track 12, “Fuego (ft. Sean Paul, Anitta & Tainy)”, which sees DJ Snake explore the planet yet again. Sean Paul comes back on the main stage with his Caribbean sounds and the most recognizable voice in the industry and Anitta who is the queen in Brazil when it comes to music. The drop mixes these central/southern American sounds but also similar sounds he explored in “A Different Way”.

Track 13, “Magenta Riddim”, the first single out of the album nearly 2 years ago. This showcases DJ Snake’s love for India, particularly in the crazy clip video, by introducing sounds from the country. The words mean absolutely nothing, and the track makes no sense whatsoever, but it is very effective. Slower than a usual banger, but still very good to dance to.

Track 14, “Frequency 75”, possibly a reference to the departmental number of Paris. Now this is definitely a club track, very heavy bass, get a few drinks in and dim the lights, you will get a crowd going crazy on this one. Similarly to Smile, not necessarily part of the best tracks of the album. Excellent transition into the alien that is Track 15.

Track 15, “SouthSide (ft. Eptic)”, this and the two Chainsmokers tracks “Save Yourself” and “Siren” are some of my favorite Dubstep bangers out there. They really push you to be crazy, bang your head in all directions and the intricate sounds which come at such a fast pace definitely make you want to party hard. Not the regular Snake the fans like when they listen to “Let Me Love You”, but still a big part of DJ Snake’s DJ culture and vibe.

Track 16, “No option (ft. Burna Boy)”, originally planned for Rihanna and you can tell why. The Caribbean vibes are very present. A form of reggae which would have worked so well with her voice. However, she was too busy with her new brand and new album. The Bob Marley feels brought by Burna Boy’s voice is contrasted by the flute present on the drop. Difficult to place in what kind of party this would work.

Track 17, “Paris (ft. GASHI)”, a tribute to the artist’s city. An emotional yet trap track which touches on how far William has come from the streets and has made it to the top of the mountain. Although very humble in interviews, the track calls himself out for being in the sky and the King. Ultimately, he says he has made it and his parents shouldn’t worry about him cause he’s at the top of the game right now.

A very lengthy article but to show you how special this album is. Not only for the fans like me but the quality of each track and the diversity of them as well as the complete change of direction from DJ Snake’s music. As the title of his album says, translated to “blank slate”, he has gone his own way. Hope you enjoyed this review. Here are my top 5 tracks of the album:

1. Loco Contigo

2. Paris

3. SouthSide

4. Enzo

5. Taki Taki