{"id":10993,"date":"2020-08-18T11:00:00","date_gmt":"2020-08-18T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/eurythmics-des-circuits-au-regard-humain\/"},"modified":"2026-11-09T07:12:15","modified_gmt":"2026-11-09T06:12:15","slug":"eurythmics-des-circuits-au-regard-humain","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/eurythmics-des-circuits-au-regard-humain\/","title":{"rendered":"Eurythmics &#8211; Circuits et regard humain"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">S\u00e9quenceurs de grenier, coupe orange, US Hot 100<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify\">Dans un grenier londonien, Annie Lennox et Dave Stewart se reconstruisirent apr\u00e8s The Tourists avec bo\u00eetes \u00e0 rythmes et volont\u00e9. The Tourists avait \u00e9t\u00e9 un folk-pop presque-coup ; Eurythmics, c&rsquo;\u00e9tait le duo gardant le partenariat et \u00e9changeant le confort acoustique contre des s\u00e9quenceurs, des synth\u00e9s bon march\u00e9 et un regard dur qu&rsquo;ils gardaient pour la cam\u00e9ra. Stewart programmait ; Lennox chantait des personnages autant que des accroches. Les premiers albums se vendirent modestement. Puis une vid\u00e9o avec une vache changea l&rsquo;\u00e9chelle.<\/p>\n<p style=\"text-align: justify\">Sweet Dreams (Are Made of This) (1983) posa une pulsation froide sous la coupe orange et la pose androgyne de Lennox. Le titre a pris la t\u00eate du US Hot 100. L&rsquo;album rendit les machines intimes : \u00ab\u00a0Love Is a Stranger\u00a0\u00bb, \u00ab\u00a0The Walk\u00a0\u00bb, le d\u00e9sir pos\u00e9 en phrases courtes et en arrangements serr\u00e9s. Touch a suivi en novembre 1983 avec \u00ab\u00a0Here Comes the Rain Again\u00a0\u00bb et \u00ab\u00a0Who&rsquo;s That Girl?\u00a0\u00bb, la pluie dans l&rsquo;arrangement et une chanson sur quelqu&rsquo;un qu&rsquo;on ne reconna\u00eet pas.<\/p>\n<p style=\"text-align: justify\">La logique studio-grenier de Stewart comptait autant que la chevelure et les costumes. Mat\u00e9riel bon march\u00e9, placement soign\u00e9, conviction que l&rsquo;espace est un instrument. Lennox apporta la formation th\u00e9\u00e2tre en cabine : personnages, masques, un regard qui pouvait transformer un refrain en accusation. Les parties \u00e9lectroniques sonnent encore comme deux personnes dans une petite pi\u00e8ce. M\u00eame au plus commercial, les disques restent pris de pr\u00e8s, comme un tube qu&rsquo;on aurait fini dans ce grenier.<\/p>\n<p style=\"text-align: justify\">Ils pouvaient pivoter sans s&rsquo;excuser. Be Yourself Tonight (1985) amena Aretha Franklin sur \u00ab\u00a0Sisters Are Doin&rsquo; It for Themselves\u00a0\u00bb et prouva que soul et synth\u00e9 pouvaient partager une sc\u00e8ne. \u00ab\u00a0Would I Lie to You?\u00a0\u00bb souriait \u00e0 travers le cuivre. Revenge (1986) et \u00ab\u00a0Missionary Man\u00a0\u00bb gard\u00e8rent la croisi\u00e8re forte. Puis Savage (1987) tourna vers l&rsquo;int\u00e9rieur et le cin\u00e9ma, Lennox mettant la f\u00e9minit\u00e9 en costume et critique pendant que Stewart cadrait le miroir.<\/p>\n<p style=\"text-align: justify\">We Too Are One (1989) ferma le premier long chapitre. Des voies solo s&rsquo;ouvrirent : Lennox avec Diva, Stewart en production et cin\u00e9ma. Le duo revint pour Peace (1999), puis \u00ab\u00a0I&rsquo;ve Got a Life\u00a0\u00bb et l&rsquo;\u00e8re Ultimate Collection, une entr\u00e9e au Rock and Roll Hall of Fame en 2022. Les pistes connaissaient d\u00e9j\u00e0 les singles. Tout du long, le dispositif est rest\u00e9 le m\u00eame: deux personnes, assez de mat\u00e9riel et ce regard dur.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00a0\u00bb10989&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1790088104{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00a0\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify\">Les bo\u00eetes \u00e0 rythmes \u00e9taient d\u00e9j\u00e0 courantes en 1983. Ce qui est rest\u00e9, c&rsquo;est la voix de Lennox dedans. Elle pouvait sonner bless\u00e9e et autoritaire dans la m\u00eame phrase. Stewart pouvait faire sonner un clavier bon march\u00e9 plus gros en laissant de l&rsquo;espace autour. Les clips mettaient les v\u00eatements et la coiffure dans la chanson. Les singles devaient encore coller un visage sur les machines avant d&rsquo;arriver dans les classements.<\/p>\n<p style=\"text-align: justify\">Par rapport aux disques plus sombres de Depeche Mode ou \u00e0 la pr\u00e9cision de Sheffield d&rsquo;Human League, Eurythmics gardait la soul dans la voix et une image qui bouge. Lennox n&rsquo;\u00e9tait pas une voix vide pos\u00e9e sur une machine. Stewart n&rsquo;\u00e9tait pas seulement programmeur. Ce duo explique pourquoi \u00ab\u00a0Sweet Dreams\u00a0\u00bb sonne encore \u00e9trange sur une piste.<\/p>\n<p style=\"text-align: justify\">En live, le duo pouvait \u00eatre aust\u00e8re ou th\u00e9\u00e2tral, mais le regard restait: Lennox dans le cadre, Stewart sur les machines. Elle chantait les phrases personnelles. Lui tenait les s\u00e9quenceurs. Les singles passent encore en club, pas seulement dans les \u00e9missions de vieux tubes.<\/p>\n<p style=\"text-align: justify\">Commencez par Sweet Dreams (Are Made of This) pour la grille breakthrough, Touch pour les singles pluie, Be Yourself Tonight pour le pivot soul, Savage pour le virage int\u00e9rieur. \u00ab\u00a0Sweet Dreams (Are Made of This),\u00a0\u00bb \u00ab\u00a0Here Comes the Rain Again\u00a0\u00bb et \u00ab\u00a0Would I Lie to You?\u00a0\u00bb cartographient l&rsquo;arc public en trois tubes.<\/p>\n<p style=\"text-align: justify\">Des d\u00e9cennies plus tard, \u00ab\u00a0Sweet Dreams (Are Made of This)\u00a0\u00bb ouvre encore des sets en club et dans la vid\u00e9o de 1983. Les nouveaux auditeurs voient la coupe orange et la vache. Les anciens retrouvent le grenier et le m\u00eame regard dur. Les machines datent. La voix de Lennox sur ces morceaux, non. Deux personnes, assez de mat\u00e9riel et une d\u00e9cennie de singles qui marchent encore en club et au casque.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Dans un grenier londonien, Annie Lennox et Dave Stewart se reconstruisirent apr\u00e8s The Tourists avec bo\u00eetes \u00e0 rythmes et volont\u00e9. Sweet Dreams a pris la t\u00eate du US Hot 100 en 1983.<\/p>\n","protected":false},"author":1,"featured_media":10986,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[1148,457],"class_list":["post-10993","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-eurythmics-fr","tag-newwave-electro-triphop-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Eurythmics - Circuits et regard humain - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Dans un grenier londonien, Annie Lennox et Dave Stewart se reconstruisirent apr\u00e8s The Tourists avec bo\u00eetes \u00e0 rythmes et volont\u00e9. 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