{"id":13878,"date":"2009-05-03T09:00:00","date_gmt":"2009-05-03T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/square-one-coldplay\/"},"modified":"2026-09-27T00:43:05","modified_gmt":"2026-09-26T22:43:05","slug":"square-one-coldplay","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/square-one-coldplay\/","title":{"rendered":"Square One – Coldplay: Coldplay opened X&Y with a three-note fanfare lifted toward 2001: A"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Ouverture de X&Y, 2005 : trois notes, puis l’album grand \u00e9cran d\u00e9marre<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

La premi\u00e8re chose qu’on entend, c’est une figure de trois notes qui fait signe vers Strauss et le 2001: A Space Odyssey<\/em> de Kubrick. Puis la batterie de Will Champion se verrouille, la basse de Guy Berryman \u00e9paissit, et la voix de Chris Martin chevauche un mix pens\u00e9 pour casque et stades \u00e0 la fois. Square One<\/em> ouvre le troisi\u00e8me album de Coldplay, X&Y<\/em>, sorti le 6 juin 2005 chez Parlophone. Ce n’est pas le lead single. C’est la d\u00e9claration d’\u00e9chelle : apr\u00e8s les longues sessions tumultueuses de 2004, le groupe voulait un disque plus large que Parachutes<\/em> ou A Rush of Blood to the Head<\/em>, et l’ouverture le dit en moins d’une minute.<\/p>\n

Ken Nelson avait produit les deux premiers albums. Pour X&Y<\/em>, le groupe travaille aussi avec Danton Supple et avec lui-m\u00eame, jetant des lots entiers de chansons avant que la tracklist finale tienne. Le manager et partenaire cr\u00e9atif Phil Harvey est largement absent de cette boucle, une premi\u00e8re pour le groupe, et la pression passe dans le texte : \u00eatre observ\u00e9, recommencer, chercher un signal dans le bruit. Des guitares satur\u00e9es passent sous un piano propre. Le refrain s’\u00e9largit sans s’effondrer en ballade molle. On sent le groupe tester jusqu’o\u00f9 il peut sonner grand sans perdre la voix de Martin au centre.<\/p>\n

En live, Square One<\/em> lance souvent les d\u00e9buts de set X&Y<\/em> et plus tard des festivals comme Austin City Limits et Glastonbury. Le motif de trois notes donne aux r\u00e9gies lumi\u00e8re un rep\u00e8re facile et au public un chant avant m\u00eame le premier couplet. Les salles apprennent \u00e0 hurler le titre m\u00eame quand la radio pr\u00e9f\u00e8re Speed of Sound<\/em> et Fix You<\/em>. Dans la s\u00e9quence de l’album, le morceau fait le travail d’un cold open : annoncer la palette, puis passer le relais \u00e0 What If<\/em>.<\/p>\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

On voulait essayer de nouvelles choses, faire avancer notre son. Mais le focus reste sur les chansons.<\/p>\n<\/blockquote>\n

(Jonny Buckland, sur les sessions de X&Y)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00a0\u00bb14762″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1790420111{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

Les critiques se sont divis\u00e9es sur la question de savoir si la taille de l’album servait chaque titre. Peu ont contest\u00e9 la clart\u00e9 d’intention de l’ouverture. Square One<\/em> disait que le groupe avait quitt\u00e9 l’intimit\u00e9 chambre de 2000 et \u00e9crivait pour des salles qui connaissaient d\u00e9j\u00e0 chaque mot de Clocks<\/em>.<\/p>\n

Remettez-le en t\u00eate d’album et la fanfare marche encore comme une porte. Derri\u00e8re, un Coldplay plus dense, toujours b\u00e2ti sur la voix de Martin et le pulse de Champion, mais qui ne pr\u00e9tend plus \u00eatre petit. Cette honn\u00eatet\u00e9 d’\u00e9chelle explique pourquoi le titre ouvre encore les playlists deep cut du milieu des ann\u00e9es 2000 : appuyez sur play, entendez les trois notes, et le disque grand \u00e9cran commence.<\/p>\n

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