{"id":15893,"date":"2012-04-11T16:00:00","date_gmt":"2012-04-11T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/the-chemical-brothers-big-beat-blocks-for-the-festival-floor\/"},"modified":"2026-09-27T01:59:23","modified_gmt":"2026-09-26T23:59:23","slug":"the-chemical-brothers-big-beat-blocks-for-the-festival-floor","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/the-chemical-brothers-big-beat-blocks-for-the-festival-floor\/","title":{"rendered":"The Chemical Brothers – Blocs de big beat pour les grands festivals"},"content":{"rendered":"

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De Manchester \u00e0 Exit Planet Dust : samples, breaks et danse en ar\u00e8ne<\/h3>\n

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Tom Rowlands et Ed Simons se rencontrent \u00e0 l’Universit\u00e9 de Manchester au d\u00e9but des ann\u00e9es 1990, \u00e0 une \u00e9poque o\u00f9 la house et le hip-hop red\u00e9finissent ce que peut \u00eatre un groupe de danse. Ils commencent \u00e0 mixer ensemble sous le nom de Dust Brothers, jouent dans les nuits Heavenly Social et construisent une r\u00e9putation pour des sets qui traitent les samples avec le soin qu’un producteur accorde \u00e0 une session studio. Un litige avec un duo de production am\u00e9ricain portant d\u00e9j\u00e0 ce nom les oblige \u00e0 se rebaptiser The Chemical Brothers en 1994, mais la m\u00e9thode reste constante : creuser dans les bacs, empiler les breaks, et faire bouger la salle.<\/p>\n

Exit Planet Dust (1995), sorti sur Junior Boy’s Own et leur propre label Freestyle Dust, expose la formule en entier. \u00ab\u00a0Leave Home\u00a0\u00bb, \u00ab\u00a0Chemical Beats\u00a0\u00bb et \u00ab\u00a0One Too Many Mornings\u00a0\u00bb confrontent des breaks hip-hop \u00e0 l’\u00e9nergie de la guitare rock et \u00e0 une basse de poids club, produisant des disques qui fonctionnent aussi bien dans une salle en sueur \u00e0 2 h du matin qu’en plein festival. La production est d\u00e9lib\u00e9r\u00e9ment brute par endroits, avec des samples hauts dans le mix plut\u00f4t qu’enfouis sous le traitement. Le big beat devient l’\u00e9tiquette de presse, et m\u00eame si le terme devient vite une cage pour certains, Rowlands et Simons sont trop concentr\u00e9s sur le r\u00e9sultat physique pour s’en soucier.<\/p>\n

Dig Your Own Hole (1997) \u00e9largit la palette avec des collaborateurs. Noel Gallagher joue de la guitare sur \u00ab\u00a0Setting Sun\u00a0\u00bb, un morceau qui arrive avec le poids d’un moment de croisement Britpop mais qui est en r\u00e9alit\u00e9 les Chemical Brothers qui attirent la culture guitare dans leur propre cadre. Beth Orton chante sur \u00ab\u00a0Where Do I Begin\u00a0\u00bb avec une douceur qui s’appuie sur la production sans y dispara\u00eetre. \u00ab\u00a0Block Rockin’ Beats\u00a0\u00bb remporte un Grammy, soutient une vid\u00e9o \u00e0 l’\u00e9nergie brute du duo, et devient l’un des morceaux de club britanniques les plus marquants de la d\u00e9cennie.<\/p>\n

Surrender (1999) confirme leur statut de t\u00eates d’affiche de festival avant que le concept ne soit pleinement ancr\u00e9. \u00ab\u00a0Hey Boy Hey Girl\u00a0\u00bb int\u00e8gre un coup de sifflet et un chant de foule dans un seul refrain qui n’a jamais quitt\u00e9 les setlists de festival depuis. Bernard Sumner contribue \u00e0 \u00ab\u00a0Out of Control\u00a0\u00bb, Q-Tip appara\u00eet sur \u00ab\u00a0Getaway\u00a0\u00bb, et les visuels, souvent r\u00e9alis\u00e9s par Adam Smith en partenariat avec le duo, transforment les murs de LED en partie de la section rythmique.<\/p>\n

Come with Us (2002) et Push the Button (2005) maintiennent la position entre cr\u00e9dibilit\u00e9 underground et port\u00e9e commerciale. Push the Button fait appel \u00e0 Tim Burgess, Kele Okereke et \u00e0 nouveau Q-Tip, remporte le Mercury Prize, et prouve qu’un groupe de danse peut d\u00e9crocher un prix d’album prestigieux sans avoir besoin de ralentir. Further (2010) est plus long et plus sombre, refl\u00e8te quelque chose de l’atmosph\u00e8re post-crise dans ses textures, et reste l’\u00e9nonc\u00e9 le plus coh\u00e9rent de tout le catalogue sur la dur\u00e9e d’un album.<\/p>\n

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Born in the Echoes (2015), No Geography (2019) et For That Beautiful Feeling (2023) continuent \u00e0 enrichir le catalogue sans r\u00e9p\u00e9ter m\u00e9caniquement la formule. Chaque disque int\u00e8gre de nouveaux sons dans la grille de la grosse caisse et du sample, et le show live continue d’\u00e9voluer : collaborations IMAX, sc\u00e8nes sur mesure, et l’une des performances lumi\u00e8re-son les plus constamment impressionnantes de la musique \u00e9lectronique.<\/p>\n

Parmi leurs contemporains \u00e9lectroniques, les Chemical Brothers occupent une position sp\u00e9cifique. Daft Punk a construit une mythologie autour de casques et de l’anonymat, en puisant davantage dans la disco. Underworld est rest\u00e9 plus proche de la culture club et de l’\u00e9criture lyrique litt\u00e9raire. The Prodigy poussait plus fort et plus fort. Rowlands et Simons \u00e9taient des visages reconnaissables sans personnage : deux personnes devant des machines, attentives \u00e0 la texture et \u00e0 l’arrangement autant qu’\u00e0 l’impact, pr\u00eates \u00e0 laisser les invit\u00e9s fa\u00e7onner un morceau sans c\u00e9der la direction cr\u00e9ative.<\/p>\n

Les instincts de sampling qui animent la musique remontent aux heures pass\u00e9es par Rowlands dans les disquaires et au circuit des clubs de Manchester qui leur a appris \u00e0 tous deux ce \u00e0 quoi un public r\u00e9pond physiquement. Le don des Chemical Brothers, c’est l’\u00e9chelle : ils ont pris des outils con\u00e7us pour de petites salles et \u00e9crit des accroches qui survivent aux festivals en plein jour, en faisant confiance aux basses pour convaincre.<\/p>\n

La porte d’entr\u00e9e d\u00e9pend de l’\u00e9poque recherch\u00e9e. Exit Planet Dust pour la version brute des d\u00e9buts, Dig Your Own Hole pour l’apog\u00e9e, Further pour la profondeur. En mode singles, \u00ab\u00a0Block Rockin’ Beats\u00a0\u00bb, \u00ab\u00a0Hey Boy Hey Girl\u00a0\u00bb et \u00ab\u00a0Galvanize\u00a0\u00bb couvrent le catalogue efficacement. Pour un seul morceau qui explique l’ensemble du projet, \u00ab\u00a0Setting Sun\u00a0\u00bb de 1996 reste une \u00e9tude sur la fa\u00e7on de prendre une r\u00e9f\u00e9rence rock classique et d’en faire un disque club qui a toujours exist\u00e9.<\/p>\n

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