{"id":11195,"date":"2017-09-17T16:20:00","date_gmt":"2017-09-17T14:20:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/interview-afterlife-de-jeff-buckley\/"},"modified":"2026-09-26T22:58:53","modified_gmt":"2026-09-26T20:58:53","slug":"interview-afterlife-de-jeff-buckley","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/interviews-fr\/interviews-posthumes\/interview-afterlife-de-jeff-buckley\/","title":{"rendered":"Interview afterlife de Jeff Buckley"},"content":{"rendered":"

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Riffs and Beats retrouve Jeff Buckley au bord du Mississippi la nuit, brume sur l’eau, une Telecaster tranquille dans le dos. La brume du fleuve est mise en sc\u00e8ne; le falsetto qui ouvre une pi\u00e8ce, non.<\/h3>\n

Riffs and Beats<\/strong>
\nJeff, le fleuve parle en langues. O\u00f9 avons-nous atterri ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nQuelque part o\u00f9 les chansons vont rafra\u00eechir leur gorge. Le Mississippi garde des vers inachev\u00e9s. J’aime les choses inachev\u00e9es. Elles restent honn\u00eates. Assieds-toi sur le pieu si tu veux. La brume ne refusera pas la compagnie.<\/p>\n

Riffs and Beats<\/strong>
\nTa reprise de Hallelujah est devenue un second original. Comment \u00e7a s’est pass\u00e9 ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nLeonard a \u00e9crit une couches \u00e9paisses. J’y suis entr\u00e9 et j’ai ouvert une fen\u00eatre. Live at Sin-\u00e9 puis Grace, je l’ai trait\u00e9e comme une pri\u00e8re avec du larsen. Je ne le rempla\u00e7ais pas. Je r\u00e9pondais dans une tonalit\u00e9 plus jeune. Parfois r\u00e9pondre devient la pi\u00e8ce dont les gens se souviennent.<\/p>\n

Riffs and Beats<\/strong>
\nL’album Grace est \u00e0 la fois fragile et \u00e9norme. Que poursuivais-tu ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nUne voix capable de blesser et de b\u00e9nir dans la m\u00eame mesure. Andy Wallace a aid\u00e9 \u00e0 cadrer la temp\u00eate sans barreaux. Lover, You Should’ve Come Over, c’est le d\u00e9sir avec de l’architecture. So Real, un frisson sur lequel on peut danser. Je voulais une beaut\u00e9 qui admette le danger. Ouvre le falsetto et la vitre s’embue encore de l’int\u00e9rieur.<\/p>\n

Riffs and Beats<\/strong>
\nTon p\u00e8re Tim Buckley projetait une longue ombre. Tu as couru vers elle ou loin d’elle ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nLes deux, souvent dans la m\u00eame semaine. Nier le sang, c’est une autre prison. J’aimais son risque et je craignais l’industrie de la comparaison. Alors j’ai b\u00e2ti mon propre temps. Les gens mettent encore nos noms dans la m\u00eame phrase. Les phrases ne sont des cages que si tu es d’accord.<\/p>\n

Riffs and Beats<\/strong>
\nSin-\u00e9 \u00e0 New York \u00e9tait une \u00e9glise pour l’inachev\u00e9. Que t’a appris cette salle ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nQue l’intimit\u00e9 est un effet sp\u00e9cial. Pas besoin de lasers. Si tu peux tenir vingt personnes avec un falsetto et une guitare caboss\u00e9e, les ar\u00e8nes deviennent optionnelles. J’ai appris \u00e0 faire confiance au silence entre les phrases. Le silence, c’est l\u00e0 o\u00f9 l’auditeur se penche. Je p\u00e8se chaque syllabe de cette phrase.<\/p>\n

Riffs and Beats<\/strong>
\nTu n’as jamais fini le deuxi\u00e8me album comme la Terre l’attendait. Est-ce que \u00e7a te g\u00eane ici ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nL’attente est un mauvais producteur. Les esquisses bourdonnent encore. Une \u0153uvre inachev\u00e9e n’est pas un \u00e9chec si elle continue de grandir dans d’autres gorges. Ici je peux r\u00e9viser pour toujours sans date de sortie. C’est un luxe et une punition dans le m\u00eame manteau.<\/p>\n

Riffs and Beats<\/strong>
\nQu’est-ce qui te manque : les applaudissements, ou le chemin du retour apr\u00e8s ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nLe chemin du retour. Les lampadaires, le caf\u00e9 bon march\u00e9, la voix qui vibre encore dans les dents. Les applaudissements, c’est la m\u00e9t\u00e9o. Le chemin, c’est l\u00e0 o\u00f9 tu d\u00e9cides si la chanson \u00e9tait vraie. Ce n’est pas de la nostalgie. C’est un inventaire.<\/p>\n

Riffs and Beats<\/strong>
\nSi Grace \u00e9tait une personne, que lui dirais-tu maintenant ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nMerci d’avoir surv\u00e9cu \u00e0 mon calendrier. Sois douce avec ceux qui t’utilisent aux enterrements et aux mariages. Tu \u00e9tais faite pour les deux. Reste \u00e9trange. L’\u00e9tranget\u00e9 est ton passeport.<\/p>\n

Riffs and Beats<\/strong>
\nL’eau est-elle douce ici ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nPlus douce que la rumeur. Elle porte les chansons sans les noyer. C’est tout ce que j’ai jamais demand\u00e9 \u00e0 un fleuve, et plus que ce que proposent la plupart des villes.<\/p>\n

Riffs and Beats<\/strong>
\nMojo Pin et Grace la chanson ont l’air de r\u00eaves de fi\u00e8vre. Comment as-tu gard\u00e9 la fi\u00e8vre musicale plut\u00f4t que b\u00e2cl\u00e9e ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nEn accordant le chaos sur une hauteur centrale. Le d\u00e9sir peut s’\u00e9taler. L’arrangement ne doit pas. Je voulais des guitares qui scintillent comme des nerfs et une voix capable de craquer sans s’\u00e9crouler. La discipline de studio, c’est comme \u00e7a que la fi\u00e8vre devient de l’art. Sans elle, la fi\u00e8vre n’est qu’une mauvaise nuit avec des micros et aucune carte pour revenir \u00e0 la m\u00e9lodie.<\/p>\n

Riffs and Beats<\/strong>
\nQue dirais-tu \u00e0 quelqu’un qui ne te d\u00e9couvre qu’en playlist ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nQuitte la playlist et trouve une face enti\u00e8re. Le contexte, c’est de l’oxyg\u00e8ne. \u00c9coute le silence entre les titres, la fa\u00e7on dont une prise live respire autrement qu’une prise polie. Et si Hallelujah est la porte, avance plus loin dans la maison. Il y a des pi\u00e8ces avec des meubles plus \u00e9tranges, des lampes plus douces, et des fen\u00eatres qui donnent sur le fleuve.<\/p>\n

Riffs and Beats<\/strong>
\nLast Goodbye sonne encore comme une dispute avec une valise. Qui a gagn\u00e9 ?<\/em><\/p>\n

Jeff Buckley<\/strong>
\nPersonne. C’est pour \u00e7a que \u00e7a dure. Les ruptures qui se r\u00e9solvent proprement deviennent des sitcoms. Last Goodbye garde la porte \u00e0 moiti\u00e9 ouverte et la guitare \u00e0 moiti\u00e9 cruelle. J’aimais les chansons qui refusent une morale bien rang\u00e9e. L’auditeur doit finir de faire ses bagages seul. Ici j’entends encore ce riff comme un train qui ne quitte jamais vraiment la gare.<\/p>\n

Il l\u00e8ve la Telecaster une fois, comme pour v\u00e9rifier l’accordage, puis marche le long de la rive jusqu’\u00e0 ce que sa silhouette s’amincisse dans le noir. Quelque part un vinyle de Grace se retourne tout seul, et la nuit continue d’\u00e9couter.<\/p>\n

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