{"id":10660,"date":"2017-01-11T19:00:00","date_gmt":"2017-01-11T18:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/blur-blur-2\/"},"modified":"2026-09-27T00:00:33","modified_gmt":"2026-09-26T22:00:33","slug":"blur-blur-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/albums-fr\/blur-blur-2\/","title":{"rendered":"Blur – La porte de sortie du Britpop"},"content":{"rendered":"

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Mayfair \u00e0 Reykjav\u00edk, le Britpop derri\u00e8re<\/h3>\n

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En f\u00e9vrier 1997, Blur<\/em> arriva comme un groupe en train d’enfoncer sa propre sortie du Britpop. Le sourire Parklife avait disparu. \u00c0 la place : grit lo-fi, voltage alternatif am\u00e9ricain, et une d\u00e9tonation de deux minutes appel\u00e9e \u00ab\u00a0Song 2\u00a0\u00bb, n\u00e9e en plaisanterie et devenue cri plan\u00e9taire. Enregistr\u00e9 entre les Mayfair Studios de Londres et la longue nuit islandaise de Reykjav\u00edk, ce cinqui\u00e8me album \u00e9ponyme sonnait comme quatre musiciens refusant le costume qu’ils avaient aid\u00e9 \u00e0 inventer.<\/p>\n

Stephen Street produisit avec le groupe, captant sur disques durs Otari RADAR qui transformaient les jams en architecture. La boucle de batterie d’ouverture de \u00ab\u00a0Song 2\u00a0\u00bb vint de micros d’ambiance sur deux kits, Dave Rowntree et Graham Coxon frappant un motif que Street boucla pour que le groupe explose par-dessus. \u00ab\u00a0Beetlebum\u00a0\u00bb ouvrit le disque sur une gravit\u00e9 plus lourde, plus brumeuse. \u00ab\u00a0On Your Own\u00a0\u00bb et \u00ab\u00a0M.O.R.\u00a0\u00bb \u00e9largirent encore la palette, tandis que \u00ab\u00a0You’re So Great\u00a0\u00bb, Coxon seul au micro, ressemblait \u00e0 une lettre laiss\u00e9e sur la table. Plusieurs voix furent termin\u00e9es dans la maison islandaise d’Albarn, o\u00f9 la lumi\u00e8re d’hiver arrive tard et o\u00f9 l’\u00e9criture n’a nulle part o\u00f9 se cacher.<\/p>\n

Ce qui tient Blur<\/em>, c’est la rupture avec du m\u00e9tier. Les chansons sont plus courtes, plus sales, plus pr\u00eates \u00e0 laisser un bleu. Des bords art-rock fr\u00f4lent l’abrasion indie. Le groupe qui cataloguait jadis la vie anglaise semblait vouloir sortir du catalogue sans abandonner la m\u00e9lodie. Cette tension est le nerf de l’album.<\/p>\n

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\n

On ne l’a jamais vue comme un single, juste un truc amusant. La techno nous a permis d’enregistrer autrement, et bien s\u00fbr \u00e7a a donn\u00e9 un disque au son tr\u00e8s diff\u00e9rent des trois pr\u00e9c\u00e9dents.<\/p>\n<\/blockquote>\n

(Stephen Street, \u00e0 propos de Song 2 et des sessions RADAR)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00a0\u00bb13950″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1790423417{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

Food Records sortit l’album le 10 f\u00e9vrier 1997. L’Am\u00e9rique pencha enfin. Les stades apprirent le woo-hoo. Pourtant les coins plus discrets, \u00ab\u00a0Death of a Party\u00a0\u00bb, \u00ab\u00a0Strange News from Another Star\u00a0\u00bb, \u00ab\u00a0Essex Dogs\u00a0\u00bb et son ADN de jam mont\u00e9e, sont l\u00e0 o\u00f9 le disque garde son temps priv\u00e9. Le Britpop s’effilochait d\u00e9j\u00e0 ; Blur<\/em> ne le pleura pas. Il changea de veste au milieu de la phrase et continua d’avancer.<\/p>\n

R\u00e9\u00e9coutez : les salles restent pr\u00e9cises, n\u00e9ons de Mayfair, sessions \u00e0 Reykjav\u00edk, deux batteries, une boucle devenue \u00ab Song 2 \u00bb. Blur n’efface pas le Britpop ; il range l’Angleterre cartoon de Parklife et laisse la guitare de Graham Coxon mener. Le \u00ab woo-hoo \u00bb \u00e9tait une blague que la radio a prise au s\u00e9rieux. L’album sonne encore comme un groupe qui change d’outils en milieu de carri\u00e8re.<\/p>\n

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En f\u00e9vrier 1997, l’album homonyme de Blur enfonce une sortie du Britpop vers le volume indie am\u00e9ricain.<\/p>\n","protected":false},"author":1,"featured_media":10657,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[288,287],"tags":[311,407],"class_list":["post-10660","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-albums-fr","category-chroniques","tag-alternative-indie-punk-fr","tag-blur-fr"],"yoast_head":"\nBlur - La porte de sortie du Britpop - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/albums-fr\/blur-blur-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Blur - La porte de sortie du Britpop - 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