{"id":13952,"date":"2011-06-04T16:00:00","date_gmt":"2011-06-04T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/beetlebum-blur-2\/"},"modified":"2026-09-26T23:59:13","modified_gmt":"2026-09-26T21:59:13","slug":"beetlebum-blur-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/beetlebum-blur-2\/","title":{"rendered":"Beetlebum – Blur: Ouverture de l’\u00e9ponyme qui sort du Britpop"},"content":{"rendered":"

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Janvier 1997 : num\u00e9ro un UK, salles RADAR de Street, une habitude au grand jour<\/h3>\n

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Beetlebum<\/em> ouvre le cinqui\u00e8me album de Blur sur un balancement mid-tempo lourd : batterie \u00e9touff\u00e9e, lignes de guitare tordues de Coxon, voix d’Albarn qui glisse entre affection et vide. Sorti en lead single le 20 janvier 1997, il monte num\u00e9ro un du UK Singles Chart, deuxi\u00e8me sommet du groupe apr\u00e8s Country House<\/em>. L’album \u00e9ponyme suit en f\u00e9vrier, enregistr\u00e9 avec Stephen Street entre sessions londoniennes et un travail qui d\u00e9borde vers l’Islande. Apr\u00e8s des ann\u00e9es d’anglais costum\u00e9 et de batailles de charts avec Oasis, c’est la porte de sortie. Le sourire a disparu. Il reste de la patience, de l’\u00e9paisseur, et un texte qui ne fait pas de clin d’\u0153il.<\/p>\n

Street a capt\u00e9 une bonne part du disque sur disques durs Otari RADAR, ce qui permet au groupe de garder des jams et de les remodeler au lieu de courir apr\u00e8s un vernis Britpop en une prise. Beetlebum<\/em> garde une patience narcotique : le refrain monte sans grin Britpop, et le vocabulaire \u00ab she’s a gun \u00bb \/ \u00ab beetlebum \u00bb pointe vers l’h\u00e9ro\u00efne dont Albarn parlera plus tard ouvertement en interview. La production reste \u00e9paisse plut\u00f4t que brillante. La batterie de Rowntree est enfonc\u00e9e dans le mix ; la basse de James bouge sous le frottement de Coxon au lieu de lui faire concurrence. On entend le poids de la pi\u00e8ce avant tout costume. C’\u00e9tait le sens de quitter le carnaval de Parklife sans annoncer de manifeste sur la pochette.<\/p>\n

Le clip de Sophie Muller place les quatre dans une pi\u00e8ce p\u00e2le, presque clinique, avec des coupes qui \u00e9pousent la lente mont\u00e9e du morceau et refusent la couleur carnaval. \u00c0 la radio, le titre ne ressemble en rien au carnaval de Parklife<\/em>. L’Am\u00e9rique attendra encore Song 2<\/em> pour s’int\u00e9resser ; la Grande-Bretagne met celui-ci en t\u00eate d’abord, ce qui en dit long sur le public pr\u00eat \u00e0 un Blur plus sombre. Rejouez la s\u00e9quence album et l’ouverture fixe encore les r\u00e8gles : chansons plus courtes, guitares plus sales, moins d’anglais costum\u00e9. Les remasters gardent l’\u00e9quilibre de Street ; les versions live \u00e9tirent souvent l’outro sans corriger le froid du texte.<\/p>\n

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\n

And when she lets me slip away \/ She turns me on and all my violence is gone.<\/p>\n<\/blockquote>\n

(Damon Albarn, paroles de Beetlebum, Blur, 1997)<\/em><\/p>\n

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Beetlebum<\/em> est la carte postale de cette sortie, un num\u00e9ro un qui refuse de faire la f\u00eate. Il ouvre un album qui contient aussi Song 2<\/em>, On Your Own<\/em> et Look Inside America<\/em>, sans jamais se comporter comme un lead single \u00e9crit pour plaire aux programmateurs radio. Le disque \u00e9ponyme monte num\u00e9ro un UK ; cette ouverture dit aux auditeurs quel genre de num\u00e9ro un ce sera.<\/p>\n

Un num\u00e9ro un UK sur le fait de s’enfoncer. C’\u00e9tait la porte hors du mobilier Britpop. Appuyez sur play pour la batterie \u00e9touff\u00e9e et les lignes tordues de Coxon, restez pour l’affection vacante d’Albarn, et voyez combien peu de cheerleading un sommet de charts a besoin quand le groupe a d\u00e9j\u00e0 d\u00e9cid\u00e9 de quitter le porte-manteau des costumes.<\/p>\n

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