{"id":13304,"date":"2014-12-30T13:00:00","date_gmt":"2014-12-30T12:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/?p=13304"},"modified":"2026-09-27T00:00:05","modified_gmt":"2026-09-26T22:00:05","slug":"modern-life-is-rubbish-blur","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/albums-fr\/modern-life-is-rubbish-blur\/","title":{"rendered":"Modern Life Is Rubbish – Satire essexienne apr\u00e8s une tourn\u00e9e US rude"},"content":{"rendered":"

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Food Records, apr\u00e8s une tourn\u00e9e US rude<\/h3>\n

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En mai 1993, Blur sort Modern Life Is Rubbish<\/em> chez Food Records apr\u00e8s une tourn\u00e9e am\u00e9ricaine rude et un label qui a failli enterrer les bandes. Damon Albarn, Graham Coxon, Alex James et Dave Rowntree rentrent des \u00c9tats-Unis las qu’on leur demande de quelle partie de Manchester ils viennent. La r\u00e9ponse, c’est Colchester et Londres. L’album transforme cette irritation en pop guitare, tenues Mod, m\u00e9lodies music-hall et textes sur centres commerciaux, journaux du dimanche et pluie.<\/p>\n

Les sessions s’\u00e9talent de fin 1991 au d\u00e9but 1993. Le travail avec Andy Partridge \u00e0 The Church s’enlise. Stephen Street, d\u00e9j\u00e0 pr\u00e9sent sur There’s No Other Way<\/em>, reprend la production avec l’ing\u00e9nieur John Smith. Street racontera que le groupe avait besoin des per diems studio pour manger. Dave Balfe, patron de Food, \u00e9coute une version pr\u00e9coce et parle de suicide commercial. Albarn r\u00e9pond en \u00e9crivant For Tomorrow<\/em> chez ses parents \u00e0 Colchester le jour de No\u00ebl, puis Chemical World<\/em> pour calmer le label am\u00e9ricain SBK, qui voulait Butch Vig. Blur refuse le remake Vig.<\/p>\n

For Tomorrow<\/em> s’ouvre sur les arp\u00e8ges propres de Coxon et un arrangement de cordes qui \u00e9voque une marche sous la pluie jusqu’\u00e0 Primrose Hill. Julien Temple y tourne le clip, groupe en Fred Perry et Doc Martens. Chemical World<\/em> frappe plus fort, riff sec, voix d’Albarn entre ricanement et refrain. Sunday Sunday<\/em> penche vers le bounce music-hall ; Advert<\/em> et Pressure on Julian<\/em> poursuivent le carnet social. Les guitares restent claires et s\u00e8ches ; la batterie sonne club plus que stade.<\/p>\n

La pochette, locomotive fa\u00e7on Mallard et titre en jaune, assume un branding British Image. La photo presse avec un mastiff et \u00ab British Image 1 \u00bb derri\u00e8re le groupe d\u00e9clenche une pol\u00e9mique sur le nationalisme ; Blur r\u00e9pond avec une photo tea-party camp baptis\u00e9e \u00ab British Image 2 \u00bb. La musique n’est pas une marche aux drapeaux. C’est de l’observation : trains, pubs, com\u00e9die de classe, et la gueule de bois apr\u00e8s Madchester.<\/p>\n

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Cet album a touch\u00e9 un nerf. Et si on tient le coup, et qu’on fait le prochain album au top, \u00e7a va marcher.<\/p>\n<\/blockquote>\n

(Stephen Street, \u00e9voquant Reading 1993, Uncut)<\/em><\/p>\n

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Commercialement, le disque plafonne \u00e0 la 15e place UK. Modeste \u00e0 c\u00f4t\u00e9 de la suite, mais assez pour qu’EMI reste patient. \u00c0 Reading 1993, sous la tente Melody Maker, le public chante d\u00e9j\u00e0 les nouveaux titres. Parklife arrivera un an plus tard et transformera le m\u00eame regard anglais en domination des charts ; sans Modern Life Is Rubbish<\/em>, ce saut n’a pas de piste d’envol.<\/p>\n

\u00c0 l’\u00e9coute, on entend le gabarit : leads anguleux de Coxon, voix-personnages d’Albarn, basse m\u00e9lodique de James, kits nets de Rowntree. Le label Britpop viendra plus tard, c\u00f4t\u00e9 presse. Sur cet album, le groupe d\u00e9cide simplement de sonner anglais apr\u00e8s un d\u00e9tour am\u00e9ricain qui a failli les achever.<\/p>\n

Les singles apr\u00e8s For Tomorrow<\/em> ont tenu la campagne sans transformer l’album en usine \u00e0 hits. Chemical World<\/em> et Sunday Sunday<\/em> entrent tous deux dans le Top 30 UK et offrent \u00e0 la radio un visage plus dur et un plus l\u00e9ger du m\u00eame virage anglais. Les parties de Coxon restent occup\u00e9es sans exc\u00e8s stade : bends, harmoniques et rythmes secs que les guitaristes Britpop suivants copieront avec moins d’esprit.<\/p>\n

Modern Life Is Rubbish<\/em> reste la charni\u00e8re. Pas le plus gros vendeur, pas le set de t\u00eate d’affiche, mais le moment o\u00f9 Blur arr\u00eate de courir apr\u00e8s Seattle et cartographie la banlieue londonienne avec des guitares tranchantes et des blagues plus tranchantes encore. Le \u00ab rubbish \u00bb de la vie moderne devient, chez eux, une m\u00e9thode de travail.<\/p>\n

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