{"id":13313,"date":"2012-03-19T11:00:00","date_gmt":"2012-03-19T10:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/?p=13313"},"modified":"2026-09-27T01:59:22","modified_gmt":"2026-09-26T23:59:22","slug":"xy-coldplay","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/albums-fr\/xy-coldplay\/","title":{"rendered":"X&Y – Pochette Baudot, Fix You, n\u00b01 UK en une semaine"},"content":{"rendered":"

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Parlophone, pochette Baudot, juin 2005<\/h3>\n

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Le 6 juin 2005, Coldplay sort X&Y<\/em> chez Parlophone apr\u00e8s avoir mis au rebut de larges pans des sessions Ken Nelson et termin\u00e9 avec Danton Supple. Chris Martin, Jonny Buckland, Guy Berryman et Will Champion ont d\u00e9j\u00e0 marqu\u00e9 avec Parachutes<\/em> et A Rush of Blood to the Head<\/em>. Le troisi\u00e8me album doit \u00e9largir la palette synth\u00e9s et salles plus larges, sans l\u00e2cher les ballades piano que la radio poss\u00e8de d\u00e9j\u00e0.<\/p>\n

L’enregistrement court de d\u00e9but 2004 \u00e0 janvier 2005, entre AIR Londres, Parr Street \u00e0 Liverpool, Chicago Recording Company, Sarm West, Townhouse et The Hit Factory \u00e0 New York. Le manager Phil Harvey s’\u00e9loigne bri\u00e8vement. Les prises Nelson sont mises de c\u00f4t\u00e9 quand le groupe sent que les chansons ne tiennent pas. Supple, qui a mix\u00e9 une grande part de l’album pr\u00e9c\u00e9dent, pilote l’essentiel du cut final ; Nelson garde des cr\u00e9dits sur certains titres li\u00e9s \u00e0 Fix You<\/em>.<\/p>\n

Speed of Sound<\/em> ouvre la campagne singles : synth\u00e9 puls\u00e9, guitare delay, voix de Martin qui grimpe vers un refrain stade. Fix You<\/em> d\u00e9marre orgue et guitare douce, puis s’ouvre en lift quatre temps con\u00e7u pour les arenas. Talk<\/em> reprend un motif proche de Kraftwerk et le transforme en rock mid-tempo. The Hardest Part<\/em> garde des accords teint\u00e9s country sous une m\u00e9lodie claire. Le titre \u00e9ponyme et White Shadows<\/em> poussent le c\u00f4t\u00e9 \u00e9lectronique sans abandonner le noyau : voix devant, guitares au service du crochet.<\/p>\n

La pochette \u00e9crit le titre en blocs de code Baudot sur bleu profond. Graphique, pas photo, elle annonce les grilles lumi\u00e8re de la tourn\u00e9e. EMI exp\u00e9die des millions d’exemplaires la premi\u00e8re semaine mondiale. Au Royaume-Uni, l’album d\u00e9marre n\u00b01 avec 464 471 ventes, alors l’une des ouvertures les plus rapides du pays.<\/p>\n

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X&Y a \u00e9t\u00e9 un album un peu tourment\u00e9 pour Coldplay, le groupe ayant d\u00fb se battre avec des blocages cr\u00e9atifs, y compris une tentative avort\u00e9e de faire produire Ken Nelson.<\/p>\n<\/blockquote>\n

(Rhino, retour sur le d\u00e9marrage charts de l’album)<\/em><\/p>\n

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La critique se partage entre \u00e9loge de l’\u00e9chelle et lassitude face \u00e0 la franchise de Martin. Le public, lui, ne se partage pas. X&Y<\/em> domine des dizaines de pays, m\u00e8ne les territoires iTunes \u00e0 la sortie et devient le mieux vendu de 2005 selon les bilans d’alors. La Twisted Logic Tour transforme le disque en jeux de lumi\u00e8re et en visuels code-blocs chaque soir.<\/p>\n

Ce qui tient, c’est l’ing\u00e9nierie des grands moments. Fix You<\/em> fonctionne encore en mont\u00e9e lente \u00e0 payoff net. Speed of Sound<\/em> tient toujours entre rock alternatif et synth-pop sans sonner comme un m\u00e9mo de compromis. L’album est long, et quelques titres du milieu se ressemblent, mais les singles restent la m\u00e9moire publique pour une raison.<\/p>\n

Les lignes delay de Buckland et les mont\u00e9es de toms de Champion portent le poids des titres arena, tandis que la basse de Berryman reste m\u00e9lodique plut\u00f4t qu’enterr\u00e9e. Le carnet de Martin penche ici vers coordonn\u00e9es, messages et secondes chances : un langage clair que les foules de stade peuvent reprendre sans feuille de paroles. Cette franchise, plus l’image st\u00e9r\u00e9o large de Supple, explique pourquoi la radio a recycl\u00e9 les singles des mois apr\u00e8s le pic de la semaine de sortie.<\/p>\n

X&Y<\/em>, c’est Coldplay \u00e0 l’\u00e9chelle stade avant les changements de costume et les \u00e8res concept. Le disque documente un groupe sous pression qui finit un album \u00e0 la dure, puis le voit dominer les bacs quand m\u00eame. Pour cartographier comment la guitar-pop britannique est devenue globale au milieu des ann\u00e9es 2000, c’est une pi\u00e8ce primaire.<\/p>\n

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Le 6 juin 2005, Coldplay sort X&Y chez Parlophone apr\u00e8s avoir mis au rebut de larges pans des sessions Ken Nelson et termin\u00e9 avec Danton Supple.<\/p>\n","protected":false},"author":1,"featured_media":13310,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[288,287],"tags":[311,559],"class_list":["post-13313","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-albums-fr","category-chroniques","tag-alternative-indie-punk-fr","tag-coldplay-fr"],"yoast_head":"\nX&Y - Pochette Baudot, Fix You, n\u00b01 UK en une semaine - 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\/xy-coldplay\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"X&Y - 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