{"id":13730,"date":"2009-08-14T16:00:00","date_gmt":"2009-08-14T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/animals-pink-floyd\/"},"modified":"2026-09-26T23:58:49","modified_gmt":"2026-09-26T21:58:49","slug":"animals-pink-floyd","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/albums-fr\/animals-pink-floyd\/","title":{"rendered":"Animals – Cochon de Battersea, Orwell dans l’Angleterre des 70s"},"content":{"rendered":"

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Harvest, cochon de Battersea, Angleterre d’Orwell<\/h3>\n

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Animals<\/em> sort le 21 janvier 1977 (Harvest UK ; Columbia US), dixi\u00e8me album studio de Pink Floyd. L’essentiel est d\u00e9velopp\u00e9 \u00e0 Britannia Row, \u00e0 Islington, studio du groupe apr\u00e8s le cycle Wish You Were Here<\/em>. Roger Waters construit le concept \u00e0 partir de La Ferme des animaux<\/em> d’Orwell, en projetant la soci\u00e9t\u00e9 britannique du milieu des ann\u00e9es 70 sur les chiens (ambitieux agressifs), les cochons (\u00e9lite au pouvoir) et les moutons (masse men\u00e9e). Les courts bookends Pigs on the Wing<\/em> (parties 1 et 2) encadrent trois longs titres : Dogs<\/em>, Pigs (Three Different Ones)<\/em> et Sheep<\/em>.<\/p>\n

Hipgnosis et Aubrey Powell photographient la pochette \u00e0 Battersea Power Station avec le cochon gonflable Algie. Le premier jour, l’animal s’\u00e9chappe, entre dans l’espace a\u00e9rien d’Heathrow, retarde des vols, puis atterrit dans le Kent, anecdote coll\u00e9e au disque autant que la photo finale. Dans les sillons, David Gilmour partage le chant et co-\u00e9crit Dogs<\/em> avec Waters ; Richard Wright et Nick Mason tiennent des grooves longs et secs sous guitares et claviers acerbes. Le mix est plus maigre et abrasif que l’espace ouvert de Wish You Were Here<\/em>.<\/p>\n

Pas de single conventionnel au Royaume-Uni \u00e0 la mani\u00e8re de Money<\/em> ou plus tard Another Brick in the Wall<\/em>, et pourtant Animals<\/em> atteint la 2e place UK, la 3e US, et devient multi-platine. La tourn\u00e9e In the Flesh 1977 place le cochon au-dessus des ar\u00e8nes ; les tensions de cette tourn\u00e9e nourrissent directement le concept suivant de Waters, The Wall<\/em>. Sur sc\u00e8ne, Sheep<\/em> et Dogs<\/em> deviennent des pi\u00e8ces ma\u00eetresses pour les solos de Gilmour et la critique sociale de Waters. C\u00f4t\u00e9 paroles, Waters nomme ses cibles plus directement que sur les \u00e9pop\u00e9es Floyd pr\u00e9c\u00e9dentes : politiciens et gardiens de la morale dans Pigs (Three Different Ones)<\/em>, tandis que Sheep<\/em> passe du chant docile \u00e0 la r\u00e9volte dans la section finale. La guitare de Gilmour sur Dogs<\/em> traverse m\u00e9taphores business et mortalit\u00e9 sans \u00e9dition radio. La tracklist courte et la dur\u00e9e longue deviennent un mod\u00e8le pour le rock progressif politique suivant.<\/p>\n

Les claviers de Wright sont souvent plus bas dans le mix que sur Wish You Were Here<\/em>, ce qui nourrira plus tard les r\u00e9cits sur son r\u00f4le r\u00e9duit avant The Wall<\/em>. Pourtant, orgue et synth\u00e9s sur Sheep<\/em> et les nappes froides sous Dogs<\/em> expliquent pourquoi le disque sonne plus glacial que les albums Floyd espace ouvert du d\u00e9but des ann\u00e9es 70.
\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

\n

Ce n’est pas un concept album comme The Wall. C’est plut\u00f4t un ensemble de chansons sur l’\u00e9tat du pays.<\/p>\n<\/blockquote>\n

(Roger Waters \u00e0 propos d’Animals, interviews d’\u00e9poque \/ presse r\u00e9trospective)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00a0\u00bb14937″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1790422478{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

Des d\u00e9cennies plus tard, le remix 2018 et le documentaire associ\u00e9 ram\u00e8nent le focus sur le shooting de Battersea et la charge politique du disque. La tracklist para\u00eet courte (cinq titres) mais d\u00e9passe quarante minutes parce que les trois pi\u00e8ces centrales refusent le format radio. C’est tout l’enjeu : un rock d’\u00e9tat de la nation \u00e9crit en suites, pas en singles.<\/p>\n

Animals<\/em> se place entre le poli m\u00e9lancolique de Wish You Were Here<\/em> et la forteresse narrative de The Wall<\/em> : Floyd au plus ouvertement politique, ancr\u00e9 par l’une des pochettes industrielles les plus reconnaissables du rock.<\/p>\n

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Le 21 janvier 1977, Pink Floyd sort Animals chez Harvest\/Columbia, un concept album de cinq titres autour de La Ferme des animaux d’Orwell et du shooting du cochon \u00e0 Battersea Power Station.<\/p>\n","protected":false},"author":1,"featured_media":13726,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[288,287],"tags":[482,514],"class_list":["post-13730","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-albums-fr","category-chroniques","tag-classic-rock-fr","tag-pink-floyd-fr"],"yoast_head":"\nAnimals - Cochon de Battersea, Orwell dans l'Angleterre des 70s - 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\/animals-pink-floyd\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Animals - 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