{"id":10993,"date":"2016-07-03T16:00:00","date_gmt":"2016-07-03T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/eurythmics-des-circuits-au-regard-humain\/"},"modified":"2026-09-27T00:00:25","modified_gmt":"2026-09-26T22:00:25","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 s\u00e9quenceurs, synth\u00e9s bon march\u00e9 et un regard qui refusait de s&rsquo;adoucir 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 topped le 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 \u00e9crit en voltage et arrangements serr\u00e9s. Touch suivit en novembre 1983 avec \u00ab\u00a0Here Comes the Rain Again\u00a0\u00bb et \u00ab\u00a0Who&rsquo;s That Girl?\u00a0\u00bb, la pluie comme texture, l&rsquo;identit\u00e9 comme cible mobile.<\/p>\n<p style=\"text-align: justify;\">La logique studio-grenier de Stewart comptait autant que la chevelure et les costumes. Mat\u00e9riel cheap, 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 faire d&rsquo;un refrain une accusation. Ensemble ils rendirent la pop \u00e9lectronique manuscrite. M\u00eame au plus commercial, les disques gardaient une temp\u00e9rature priv\u00e9e, comme si les charts \u00e9taient entr\u00e9s dans une pi\u00e8ce inachev\u00e9e.<\/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 scellant ce que les dancefloors savaient d\u00e9j\u00e0. Tout du long, la chimie resta binaire et compl\u00e8te : deux personnes, assez de mat\u00e9riel, un regard qui refusait de s&rsquo;adoucir.<\/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;\">Ce qui fit durer Eurythmics n&rsquo;\u00e9tait pas la nouveaut\u00e9 du hardware. C&rsquo;\u00e9tait la temp\u00e9rature humaine dans la grille. Lennox pouvait sonner bless\u00e9e et imp\u00e9riale dans la m\u00eame phrase. Stewart pouvait rendre un clavier cheap cher en laissant de l&rsquo;espace autour. Leurs clips traitaient l&rsquo;identit\u00e9 comme un th\u00e9\u00e2tre croyable. Leurs singles traitaient les charts comme un lieu o\u00f9 la technologie froide devait encore r\u00e9pondre \u00e0 un visage humain.<\/p>\n<p style=\"text-align: justify;\">Par rapport \u00e0 la cath\u00e9drale sombre de Depeche Mode ou la pr\u00e9cision Sheffield de Human League, Eurythmics gardait la soul dans la voix et l&rsquo;ambigu\u00eft\u00e9 dans l&rsquo;image. Lennox n&rsquo;\u00e9tait pas un andro\u00efde distant ; Stewart n&rsquo;\u00e9tait pas seulement programmeur. Ce duo explique pourquoi \u00ab\u00a0Sweet Dreams\u00a0\u00bb reste \u00e9trange plut\u00f4t que dat\u00e9.<\/p>\n<p style=\"text-align: justify;\">En live, le duo pouvait \u00eatre aust\u00e8re ou th\u00e9\u00e2tral, mais le regard restait : Lennox commandant le cadre, Stewart cadrant la tension. Cet \u00e9quilibre, confession contre circuitry, explique pourquoi le catalogue refuse de n&rsquo;\u00eatre que nostalgie.<\/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 hits.<\/p>\n<p style=\"text-align: justify;\">Des d\u00e9cennies plus tard, \u00ab\u00a0Sweet Dreams (Are Made of This)\u00a0\u00bb s&rsquo;ouvre encore comme avertissement et invitation. Les nouveaux auditeurs voient la coupe orange et la vache ; les anciens retrouvent la logique du grenier et le regard intact. Le hardware vieillit ; le bord humain de la voix 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 topped le US Hot 100 en 1983.<\/p>\n","protected":false},"author":1,"featured_media":10986,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[908,457],"class_list":["post-10993","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-eurythmics","tag-newwave-electro-triphop-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Eurythmics - Circuits et regard humain - 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\/groupes\/eurythmics-des-circuits-au-regard-humain\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Eurythmics - Circuits et regard humain - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Dans un grenier londonien, Annie Lennox et Dave Stewart se reconstruisirent apru00e8s The Tourists avec bou00eetes u00e0 rythmes et volontu00e9 ; 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