{"id":16064,"date":"2009-03-29T13:00:00","date_gmt":"2009-03-29T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/supergrass-jeunesse-doxford-qui-garda-le-sourire-fort\/"},"modified":"2026-09-27T00:43:04","modified_gmt":"2026-09-26T22:43:04","slug":"supergrass-jeunesse-doxford-qui-garda-le-sourire-fort","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/supergrass-jeunesse-doxford-qui-garda-le-sourire-fort\/","title":{"rendered":"Supergrass – La jeunesse d’Oxford qui a gard\u00e9 le sourire sonore"},"content":{"rendered":"

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Gaz, Mick, Danny : l’\u00e9nergie Britpop sans la guerre des costumes<\/h3>\n

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Supergrass s’est form\u00e9 \u00e0 Oxford en 1993. Gaz Coombes chantait et jouait de la guitare, Mick Quinn tenait la basse, Danny Goffey la batterie. Le trio avait eu une courte incarnation ant\u00e9rieure sous le nom The Jennifers avant que le son ne trouve sa forme sur Parlophone avec I Should Coco (1995), enregistr\u00e9 au studio Sawmills en Cornouailles avec le producteur Sam Williams. Le clavi\u00e9riste Rob Coombes rejoignit le groupe pour le deuxi\u00e8me album et resta un quatri\u00e8me membre quasi-permanent, m\u00eame si la chimie essentielle appartint toujours au trio fondateur.<\/p>\n

\u00ab\u00a0Caught by the Fuzz\u00a0\u00bb arriva en 1994 comme premier single : un r\u00e9cit de deux minutes d’une m\u00e9saventure adolescente avec la police, compact et sans affectation. \u00ab\u00a0Alright\u00a0\u00bb, construit sur une figure de guitare descendante et un refrain con\u00e7u pour \u00eatre cri\u00e9 sans r\u00e9p\u00e9tition pr\u00e9alable, devint la carte postale la plus reconnaissable de l’\u00e9poque sur la jeunesse sans complications. I Should Coco se vendit \u00e0 plus d’un million d’exemplaires au Royaume-Uni. La vid\u00e9o de Portmeirion, le groupe sur de vieilles motos, correspondait exactement au ton de la chanson : jeune, en mouvement, sans inqui\u00e9tude. Supergrass atterrit en premi\u00e8re page du Britpop sans s’enr\u00f4ler dans la narrative Blur contre Oasis.<\/p>\n

Gaz Coombes a grandi en absorbant les Buzzcocks, The Beatles, Sly and the Family Stone et les Kinks. Cette palette se voit dans l’\u00e9criture. L’\u00e9nergie de scie circulaire du premier album venait avec un instinct m\u00e9lodique qui gardait les chansons courtes et se r\u00e9solvant proprement. In It for the Money (1997), produit par John Cornfield chez RAK, fut le pas le plus net en avant : \u00ab\u00a0Richard III\u00a0\u00bb l’ouvrait avec une attaque plus lourde et plus d\u00e9lib\u00e9r\u00e9e, \u00ab\u00a0Sun Hits the Sky\u00a0\u00bb dispersait l’\u00e9nergie vers l’ext\u00e9rieur, et \u00ab\u00a0Late in the Day\u00a0\u00bb montrait que le groupe pouvait ralentir sans perdre l’attention.<\/p>\n

L’album \u00e9ponyme Supergrass (1999) dissipa tout doute r\u00e9siduel sur les origines du premier disque. \u00ab\u00a0Pumping on Your Stereo\u00a0\u00bb devint une constante des sets de festival. Life on Other Planets (2002) ajouta des synth\u00e9tiseurs et \u00e9largit l’\u00e9ventail harmonique sans perdre l’\u00e9lan. Road to Rouen (2005) fut le disque le plus personnel et le moins commercial de la s\u00e9rie : plus tranquille, plus orchestr\u00e9, le document d’auteurs travaillant dans la mi-vingtaine sous un angle diff\u00e9rent de celui qu’ils avaient utilis\u00e9 \u00e0 dix-neuf ans. Diamond Hoo Ha (2008) revint sur un terrain plus bruyant. Le groupe se s\u00e9para en 2010.<\/p>\n

Le son est plus facile \u00e0 d\u00e9finir par ce qu’il \u00e9vite. Pas de distance d’\u00e9cole d’art, pas de couches d’ironie, pas de difficult\u00e9 d\u00e9lib\u00e9r\u00e9e entre la chanson et l’auditeur. La section rythmique joue droit et fort. Les voix visent le refrain sans le d\u00e9passer. Les claviers et les cuivres apparaissent quand l’arrangement en a vraiment besoin, pas comme d\u00e9coration. La production \u00e0 travers le catalogue est chaleureuse et directe : le jeu individuel reste audible, et le caract\u00e8re des disques vient des performances plut\u00f4t que de la console de mixage.<\/p>\n

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\u00ab\u00a0Alright\u00a0\u00bb apparut sur la bande originale de Clueless en 1995 et trouva un public am\u00e9ricain via un film indiff\u00e9rent \u00e0 la g\u00e9ographie Britpop. Le groupe ne per\u00e7a jamais le march\u00e9 am\u00e9ricain \u00e0 l’\u00e9chelle que l’\u00e9lan initial laissait entendre, mais le catalogue b\u00e2tit un public transatlantique gr\u00e2ce aux r\u00e9\u00e9ditions en streaming ind\u00e9pendantes du moment Britpop d’origine. Les enregistrements de festival de l’\u00e9poque tiennent bien : le groupe jouait serr\u00e9, et les chansons n’avaient pas besoin de trucs de production pour survivre sur sc\u00e8ne.<\/p>\n

Les concerts de retrouvailles \u00e0 partir de 2011 et la tourn\u00e9e anniversaire de I Should Coco remirent le premier album sur sc\u00e8ne devant des publics qui pouvaient entendre le catalogue complet avec plus de recul. La carri\u00e8re solo de Gaz Coombes, notamment Matador (2015) et World’s Strongest Man (2018), confirma sa port\u00e9e d’auteur dans un registre plus exp\u00e9rimental, et pr\u00e9cisa aussi, par contraste, ce qu’avait \u00e9t\u00e9 la dynamique du trio : un jeu sp\u00e9cifique entre trois musiciens qu’aucun disque solo ne remplace tout \u00e0 fait.<\/p>\n

Face \u00e0 l’ambition conceptuelle de Blur ou \u00e0 la mythologie du ressentiment d’Oasis, Supergrass fonctionnait avec moins d’appareillage th\u00e9orique mais un m\u00e9tier \u00e9quivalent. \u00ab\u00a0Alright\u00a0\u00bb est le point d’entr\u00e9e \u00e9vident. In It for the Money est l’album qui d\u00e9fend le mieux la longue dur\u00e9e. Road to Rouen est le disque discret qui r\u00e9compense un retour tardif. Six albums sur quatorze ans, et un ratio refrain-chanson que la plupart des groupes, tous genres confondus, seraient ravis de revendiquer.<\/p>\n

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Trois adolescents d’Oxford ont transform\\u00e9 une guitare en scie en singles de charts, puis ont \\u00e9tir\\u00e9 le groupe du rush du premier I Should Coco jusqu’\\u00e0 l’artisanat plus tranquille de Road to Rouen sans perdre le sourire.<\/p>\n","protected":false},"author":1,"featured_media":5372,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[311,488],"class_list":["post-16064","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-alternative-indie-punk-fr","tag-supergrass-fr"],"yoast_head":"\nSupergrass - La jeunesse d'Oxford qui a gard\u00e9 le sourire sonore - 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\" 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