{"id":15963,"date":"2011-09-19T13:00:00","date_gmt":"2011-09-19T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/sebastien-tellier-soft-focus-funk-with-a-bearded-grin\/"},"modified":"2026-09-26T23:59:17","modified_gmt":"2026-09-26T21:59:17","slug":"sebastien-tellier-soft-focus-funk-with-a-bearded-grin","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/artistes\/sebastien-tellier-soft-focus-funk-with-a-bearded-grin\/","title":{"rendered":"S\u00e9bastien Tellier – Funk \u00e0 focale douce avec un sourire barbu"},"content":{"rendered":"

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Paris, Record Makers, Tony Allen et une boucle de sept minutes<\/h3>\n

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S\u00e9bastien Tellier arrive dans la conversation \u00e9lectronique fran\u00e7aise au d\u00e9but des ann\u00e9es 2000 comme un personnage avant d’\u00eatre un son. La barbe, les grandes lunettes de soleil, le rythme mesur\u00e9 de chaque interview : ce ne sont pas des affectations pos\u00e9es sur la musique, mais un personnage coh\u00e9rent \u00e0 l’int\u00e9rieur duquel la musique se d\u00e9veloppe. Record Makers, le label parisien qui travaille aussi avec M83 et Sebastian, fournit l’environnement : un espace d\u00e9lib\u00e9r\u00e9ment d\u00e9cal\u00e9 aussi bien par rapport \u00e0 la chanson mainstream que par rapport au c\u00f4t\u00e9 plus fonctionnel de la musique \u00e9lectronique fran\u00e7aise.<\/p>\n

L’incroyable v\u00e9rit\u00e9 (2001) l’introduit aupr\u00e8s d’un petit public qui trouve Air et Phoenix comme r\u00e9f\u00e9rence utile mais cherche quelque chose de plus singulier. L’album est lent et chaleureux, avec des claviers et une batterie qui avancent sans se presser, et une voix qui parle plus qu’elle ne chante. L’approche rend un impact commercial imm\u00e9diat peu probable, mais \u00e9tablit Tellier comme une figure avec une position cr\u00e9ative r\u00e9elle plut\u00f4t qu’un style emprunt\u00e9 ailleurs.<\/p>\n

Politics (2004) affine l’approche sans la rendre commerciale : piano doux, arrangements patients, et des chansons qui se comportent davantage comme des musiques de film que comme des structures pop. L’album connecte avec des auditeurs en France et commence \u00e0 atteindre un public britannique curieux de ce qui se passe aux marges les plus originales de la sc\u00e8ne parisienne. La voix reste basse et mi-parl\u00e9e, proche d’une confession intime plut\u00f4t que d’un refrain chant\u00e9 \u00e0 plein poumon.<\/p>\n

\u00ab\u00a0La Ritournelle\u00a0\u00bb est le morceau autour duquel tout le catalogue pivote. Construite sur une boucle qui dure plus de sept minutes, avec Tony Allen \u00e0 la batterie et des cordes qui s’accumulent progressivement sur le groove, c’est une chanson d’amour qui refuse de plaider sa cause autrement que par la simple r\u00e9p\u00e9tition de son titre. La batterie d’Allen, ancr\u00e9e dans la discipline afrobeat, donne au morceau une pulsation qui ne fl\u00e9chit jamais malgr\u00e9 la dur\u00e9e. Quentin Dupieux r\u00e9alise le clip, et le rapprochement de deux figures cr\u00e9atives distinctement fran\u00e7aises fait du morceau un jalon mineur de la pop fran\u00e7aise des ann\u00e9es 2000.<\/p>\n

Sexuality (2008), produit avec Guy-Manuel de Homem-Christo de Daft Punk, pousse la m\u00eame esth\u00e9tique \u00e0 focale douce vers la disco sans abandonner le murmure. La collaboration a du sens : les deux parties s’int\u00e9ressent au plaisir comme sujet de composition, et la production donne aux chansons de Tellier plus de brillance sans les forcer dans un tempo club. L’album atteint un public en France, au Royaume-Uni et en Am\u00e9rique du Nord gr\u00e2ce \u00e0 la connexion Daft Punk, et reste l’entr\u00e9e la plus accessible du catalogue.<\/p>\n

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En 2008, Tellier repr\u00e9sente \u00e9galement la France \u00e0 l’Eurovision avec \u00ab\u00a0Divine\u00a0\u00bb, chant\u00e9 en anglais, lunettes de soleil en int\u00e9rieur, sans concession au format de la comp\u00e9tition. Le morceau se classe dix-neuvi\u00e8me. La performance devient, dans la presse fran\u00e7aise, une sorte de commentaire sur la relation entre le cool fran\u00e7ais et la culture populaire europ\u00e9enne : trop sec et d\u00e9tach\u00e9 pour le bloc de vote, mais culturellement lisible comme exactement le genre d’anti-performance qui confirme le personnage plut\u00f4t que de le saper.<\/p>\n

Narco Mondo (2009) et L’Aventura (2012) continuent d’explorer des pi\u00e8ces adjacentes sans s’installer dans l’une d’elles. Des penchants pour la musique de film apparaissent plus directement, aux c\u00f4t\u00e9s d’\u00e9l\u00e9ments tropicaux et de moments o\u00f9 le tempo se l\u00e8ve vers le territoire nightclub. L’agitation cr\u00e9ative de Tellier emp\u00eache le catalogue d’avoir un second chapitre d\u00e9finitif, mais elle emp\u00eache aussi chaque album de sonner comme un compromis ou un pivot calcul\u00e9.<\/p>\n

Dans le paysage de la musique \u00e9lectronique fran\u00e7aise des ann\u00e9es 2000, Tellier se situe aux c\u00f4t\u00e9s d’Air et de Phoenix sans recouper ni l’un ni l’autre. Air a construit une pop ambiante autour d’une production luxuriante et longue dur\u00e9e. Phoenix a \u00e9volu\u00e9 vers un rock indie am\u00e9ricanis\u00e9 avec une surface commerciale de plus en plus nette. Tellier est rest\u00e9 plus proche du funk \u00e0 focale douce : le lounge comme esth\u00e9tique d\u00e9lib\u00e9r\u00e9e plut\u00f4t qu’h\u00e9rit\u00e9e, et une volont\u00e9 persistante d’\u00eatre \u00e9trange sur disque sans l’expliquer.<\/p>\n

Pour une premi\u00e8re \u00e9coute, Politics ou Sexuality sont les entr\u00e9es les plus directes : Politics pour la version la plus lente et la plus \u00e9trange de l’artiste, Sexuality pour la brillance Daft Punk et les chansons les plus imm\u00e9diatement accessibles. \u00ab\u00a0La Ritournelle\u00a0\u00bb est le morceau unique qui explique l’ensemble du projet. C’est une boucle de sept minutes qui semble prendre son temps parce qu’elle sait d\u00e9j\u00e0 o\u00f9 elle va, ce qui est la description la plus pr\u00e9cise de S\u00e9bastien Tellier qui existe.<\/p>\n

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