{"id":14195,"date":"2009-07-07T11:00:00","date_gmt":"2009-07-07T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/?p=14195"},"modified":"2026-09-27T01:16:21","modified_gmt":"2026-09-26T23:16:21","slug":"parklife-blur","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/albums-fr\/parklife-blur\/","title":{"rendered":"Parklife – Maison Rouge, quatre hits UK, Essex en grand \u00e9cran"},"content":{"rendered":"

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Maison Rouge, Essex en grand \u00e9cran<\/h3>\n

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Le 25 avril 1994, Blur sort Parklife<\/em> chez Food Records : troisi\u00e8me album studio de Damon Albarn, Graham Coxon, Alex James et Dave Rowntree, enregistr\u00e9 surtout \u00e0 Maison Rouge, Fulham, avec Stephen Street \u00e0 la production et John Smith \u00e0 la console. Apr\u00e8s le n\u00b015 UK modeste de Modern Life Is Rubbish<\/em>, le groupe a besoin d’un tube qui sonne encore anglais. Parklife<\/em> r\u00e9pond avec l’arrogance de la pochette l\u00e9vriers, des refrains music-hall et des croquis de personnages que la presse baptisera bient\u00f4t Britpop.<\/p>\n

Les sessions vont de fin 1993 au d\u00e9but 1994. Food exige encore des d\u00e9mos avant de valider les titres ; le groupe enregistre quand m\u00eame Girls & Boys<\/em> et en fait le premier single. Il passe n\u00b05 UK en mars 1994 : basse disco de James, riff sec de Coxon, Albarn qui hurle le refrain de vacances. To the End<\/em>, fini avec Stephen Hague et L\u00e6titia Sadier aux ch\u0153urs fran\u00e7ais, monte \u00e0 la 16e place. Le titre \u00e9ponyme bloque jusqu’\u00e0 ce qu’Albarn confie les couplets \u00e0 l’acteur Phil Daniels ; son aboiement fa\u00e7on Quadrophenia vend le monologue aux pigeons et le single plafonne \u00e0 la 10e. End of a Century<\/em> cl\u00f4t la s\u00e9rie \u00e0 la 19e.<\/p>\n

Dans l’album, les climats changent sans cesse. Tracy Jacks<\/em> et Bank Holiday<\/em> jouent la com\u00e9die sociale ; Badhead<\/em> et This Is a Low<\/em> ralentissent vers une m\u00e9lancolie bulletin m\u00e9t\u00e9o, la guitare de Coxon s’ouvrant en accords plus larges. Street garde une batterie s\u00e8che et des guitares claires, loin du lavage stade. La pochette, deux l\u00e9vriers en course et le logo Blur en jaune, vise le jour aux courses, pas le portrait de groupe. Elle colle aux textes : parcs, \u00e9boueurs, voyages organis\u00e9s, et la com\u00e9die des vies ordinaires londoniennes.<\/p>\n

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\n

D\u00e9sol\u00e9, les gars, vous n’avez pas la permission.<\/p>\n<\/blockquote>\n

(Andy Ross (Food Records) \u00e0 propos de Girls & Boys, rapport\u00e9 par Stephen Street dans Uncut)<\/em><\/p>\n

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Ils l’enregistrent quand m\u00eame. L’album d\u00e9bute n\u00b01 UK, vend environ 27 000 copies la premi\u00e8re semaine, et reste 90 semaines au classement ; les ventes UK d\u00e9passeront le million, meilleur score studio du groupe au pays. Aux BRITs 1995, il prend Best British Album ; le single et le clip Parklife<\/em> aussi. Moins de trois semaines apr\u00e8s la mort de Kurt Cobain, le disque arrive comme une autre d\u00e9claration des ann\u00e9es 90 : locale, bavarde, faite pour les charts plut\u00f4t que pour la voie alternative am\u00e9ricaine que Blur a d\u00e9j\u00e0 refus\u00e9e.<\/p>\n

La suite, c’est le boom Britpop et la bataille des charts 1995 avec Oasis, mais la m\u00e9thode de travail est d\u00e9j\u00e0 l\u00e0 : Albarn qui \u00e9crit des voix-personnages, Coxon qui refuse le gloss soft rock, Street qui capture le groupe entre \u00e9nergie club et craft de ballade. The Great Escape<\/em> poussera plus loin le carnet anglais ; Parklife<\/em> est le moment o\u00f9 ce carnet se vend enfin en masse.<\/p>\n

\u00c0 l’\u00e9coute, les blagues tiennent parce que les arrangements sont concrets : kits live sans Linn, basse serr\u00e9e, refrains de terrasse, et les couplets parl\u00e9s de Daniels qui coupent comme une pi\u00e8ce radiophonique. Parklife<\/em> n’invente pas la pop guitare anglaise. Il en fait une monnaie de charts, un bond de l\u00e9vrier apr\u00e8s l’autre.<\/p>\n

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Le 25 avril 1994, Blur sort Parklife chez Food Records : Stephen Street \u00e0 Maison Rouge, quatre singles UK, et un n\u00b01 rest\u00e9 90 semaines au classement.<\/p>\n","protected":false},"author":1,"featured_media":14192,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[288,287],"tags":[311,407],"class_list":["post-14195","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-albums-fr","category-chroniques","tag-alternative-indie-punk-fr","tag-blur-fr"],"yoast_head":"\nParklife - Maison Rouge, quatre hits UK, Essex en grand \u00e9cran - 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\/parklife-blur\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Parklife - 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