{"id":14782,"date":"2016-07-18T19:00:00","date_gmt":"2016-07-18T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/devo-energy-domes-and-suburban-satire\/"},"modified":"2026-09-27T01:17:54","modified_gmt":"2026-09-26T23:17:54","slug":"devo-energy-domes-and-suburban-satire","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/devo-energy-domes-and-suburban-satire\/","title":{"rendered":"DEVO – Les d\u00f4mes d’\u00e9nergie et la satire des banlieues"},"content":{"rendered":"

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Akron, Ohio, 1970 vers MTV: la d\u00e9-\u00e9volution comme th\u00e9orie, le 4\/4 comme preuve<\/h3>\n

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L’histoire commence \u00e0 Kent State University en Ohio en mai 1970, quand des tirs de la Garde nationale ont tu\u00e9 quatre \u00e9tudiants lors d’une manifestation anti-guerre. Gerald Casale en connaissait deux. Mark Mothersbaugh se trouvait sur le campus. Cet \u00e9v\u00e9nement a cristallis\u00e9 une id\u00e9e d\u00e9j\u00e0 en formation dans leurs conversations: la soci\u00e9t\u00e9 am\u00e9ricaine n’\u00e9voluait pas, elle d\u00e9-\u00e9voluait, r\u00e9gressait vers le conformisme et la peur. La d\u00e9-\u00e9volution est devenue la th\u00e9orie. DEVO en est devenu la preuve, construite \u00e0 Akron \u00e0 partir d’habitudes d’art school, d’une amertume industrielle et de la conviction que la pop pouvait porter un contenu r\u00e9el si le costume allait avec.<\/p>\n

Casale et Mothersbaugh ont assembl\u00e9 le groupe au d\u00e9but des ann\u00e9es 70 \u00e0 Akron et Kent, ajoutant le fr\u00e8re de Mothersbaugh, Bob, \u00e0 la guitare, le fr\u00e8re de Casale, Bob, \u00e0 la basse, et finalement Alan Myers, dont la pr\u00e9cision militaire \u00e0 la batterie est devenue une signature de la formation classique. Les premiers concerts en Ohio m\u00ealaient art de performance et chansons pop, uniformes et d\u00e9clarations de concept. L’image et la musique sont arriv\u00e9es ensemble; on ne pouvait pas s\u00e9parer l’une de l’autre.<\/p>\n

Brian Eno, alors entre deux projets majeurs, a accept\u00e9 de produire Q: Are We Not Men? A: We Are Devo! (1978) avec Conny Plank. Le r\u00e9sultat a lim\u00e9 les impulsions d’art school pour en faire quelque chose qui pouvait passer pour un disque: rythmes raides, voix claqu\u00e9es, chansons courtes construites autour de la r\u00e9p\u00e9tition et de la dysfonction m\u00e9canique. \u00ab\u00a0Mongoloid,\u00a0\u00bb \u00ab\u00a0Jocko Homo\u00a0\u00bb et une reprise de \u00ab\u00a0Satisfaction\u00a0\u00bb ont vid\u00e9 l’original des Rolling Stones de sa substance et l’ont remplac\u00e9 par un frisson m\u00e9canique. L’album annon\u00e7ait un groupe qui traitait l’\u00e9motion comme un d\u00e9faut de fabrication.<\/p>\n

Duty Now for the Future (1979) a maintenu la logique machine. Freedom of Choice (1980) a apport\u00e9 la perc\u00e9e commerciale. \u00ab\u00a0Whip It\u00a0\u00bb associait un riff de guitare funk sec \u00e0 une vid\u00e9o de cow-boy dans un ranch absurde: d\u00e9cal\u00e9, \u00e9trangement accrocheur et assez efficace pour atteindre le top ten am\u00e9ricain. Les chapeaux Energy Dome en plastique rouge et les combinaisons de radiation jaunes rendaient le groupe lisible en une seule image. Le groupe qui avait \u00e9t\u00e9 s\u00e9rieux \u00e0 propos de la satire avait maintenant un tube-gadget; il a choisi d’aller plus loin plut\u00f4t que de le r\u00e9p\u00e9ter.<\/p>\n

New Traditionalists (1981) et Oh, No! It’s Devo (1982) ont pouss\u00e9 plus loin vers les synth\u00e9tiseurs et les boites \u00e0 rythmes, perdant une partie du fracas de guitare des d\u00e9buts mais conservant la livraison \u00e0 l’affect plat et l’ironie lyrique. Les grooves sont devenus plus propres et plus adapt\u00e9s aux dancefloors, ce qui a fait atterrir diff\u00e9remment la com\u00e9die sociale: moins en col\u00e8re, plus r\u00e9sign\u00e9e. Giorgio Moroder, producteur de No. 1 in Heaven, avait d\u00e9j\u00e0 montr\u00e9 comment une pulsation de s\u00e9quenceur pouvait porter une chanson pop; DEVO a appliqu\u00e9 la le\u00e7on \u00e0 son propre mat\u00e9riel en conservant le deadpan intact.<\/p>\n

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Mark Mothersbaugh est pass\u00e9 \u00e0 la composition de musique de film et de publicit\u00e9, construisant une carri\u00e8re de compositeur pour la t\u00e9l\u00e9vision et le cin\u00e9ma, reconnaissable surtout dans les scores des premiers films de Wes Anderson et de la s\u00e9rie anim\u00e9e Rugrats. Gerald Casale a r\u00e9alis\u00e9 de nombreux clips du groupe et a continu\u00e9 \u00e0 se produire. Bob Casale est mort en 2014. Le groupe a continu\u00e9 dans diverses configurations, tournant r\u00e9guli\u00e8rement. Des r\u00e9trospectives mus\u00e9ales ont repositionn\u00e9 le travail des d\u00e9buts comme histoire du design autant que comme histoire de la pop.<\/p>\n

Ce qui faisait fonctionner DEVO \u00e9tait l’unit\u00e9 de m\u00e9thode: son, v\u00eatements, vid\u00e9o et paroles disaient la m\u00eame chose en m\u00eame temps. Les Energy Domes n’\u00e9taient pas des d\u00e9corations; c’\u00e9taient des ondes c\u00e9r\u00e9brales recycl\u00e9es, selon la propre mythologie du groupe. Les combinaisons effa\u00e7aient l’individualit\u00e9. Les rythmes raides imitaient le travail \u00e0 la cha\u00eene. Quand Warner Bros. les a promus comme un acte de fantaisie, le groupe a r\u00e9pondu avec des concepts plus serr\u00e9s, pas un mat\u00e9riel plus doux.<\/p>\n

La boite \u00e0 outils sonore est identifiable: une pulsation \u00e0 4\/4 qui semble verrouill\u00e9e plut\u00f4t que balanc\u00e9e, des lignes de synth\u00e9tiseur qui imitent plut\u00f4t que remplacent la m\u00e9lodie, des voix qui refusent la couleur \u00e9motionnelle, des chansons courtes qui d\u00e9passent rarement trois minutes et ne se d\u00e9veloppent presque jamais vers un aboutissement cathartique. Les points de comparaison les plus proches sont la rigueur m\u00e9canique de Kraftwerk et les Talking Heads de la p\u00e9riode funk, bien que DEVO aient \u00e9t\u00e9 plus bruyants et moins chers \u00e0 entendre que l’un ou l’autre.<\/p>\n

Les points d’entr\u00e9e sont clairs. \u00ab\u00a0Whip It\u00a0\u00bb est la porte famili\u00e8re. Q: Are We Not Men? est la plus ac\u00e9r\u00e9e, encore d\u00e9stabilisante quatre d\u00e9cennies plus tard. Freedom of Choice se place entre les deux. Ajoutez \u00ab\u00a0Mongoloid,\u00a0\u00bb \u00ab\u00a0Gut Feeling\u00a0\u00bb et \u00ab\u00a0Beautiful World\u00a0\u00bb pour localiser l’\u00e9tendue: th\u00e9orie, accrocheur, sombre. Ce qu’ils ont prouv\u00e9, d’un sous-sol de l’Ohio \u00e0 la rotation MTV, c’est que la surface de la pop pouvait porter un contenu s\u00e9rieux sans diluer l’un ou l’autre. La com\u00e9die \u00e9tait le vecteur. Le groove \u00e9tait le propos.<\/p>\n

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DEVO a construit son concept \\u00e0 Akron, Ohio, apr\\u00e8s les fusillades de Kent State en 1970: la d\\u00e9-\\u00e9volution comme th\\u00e9orie de la r\\u00e9gression am\\u00e9ricaine, et un corpus de musique pop assez raide pour le d\\u00e9montrer. De la production de Brian Eno sur leur premier album au dancefloor de Giorgio Moroder, la m\\u00e9thode est rest\\u00e9e unifi\\u00e9e.<\/p>\n","protected":false},"author":1,"featured_media":5441,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[423,457],"class_list":["post-14782","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-devo-fr","tag-newwave-electro-triphop-fr"],"yoast_head":"\nDEVO - Les d\u00f4mes d'\u00e9nergie et la satire des banlieues - 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\/groupes\/devo-energy-domes-and-suburban-satire\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"DEVO - Les d\u00f4mes d'\u00e9nergie et la satire des banlieues - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"DEVO a construit son concept u00e0 Akron, Ohio, apru00e8s les fusillades de Kent State en 1970: la du00e9-u00e9volution comme thu00e9orie de la ru00e9gression amu00e9ricaine, et un corpus de musique pop assez raide pour le du00e9montrer. 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