{"id":25936,"date":"2009-01-07T11:00:00","date_gmt":"2009-01-07T10:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/mgmt-time-to-pretend\/"},"modified":"2026-10-16T11:23:00","modified_gmt":"2026-10-16T09:23:00","slug":"mgmt-time-to-pretend","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/mgmt-time-to-pretend\/","title":{"rendered":"MGMT – Time to Pretend"},"content":{"rendered":"

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Tarbox Road, 2007 : tempo ABBA, d\u00e9but Columbia<\/h3>\n

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Le 3 mars 2008, MGMT sortent Time to Pretend<\/em> en premier single d’Oracular Spectacular<\/em>, leur premier album major. Andrew VanWyngarden et Ben Goldwasser avaient \u00e9crit une version plus t\u00f4t pour l’EP Time to Pretend<\/em> de 2005, encore connus autour de Wesleyan comme The Management. Columbia insiste pour garder le morceau sur l’album. Ils le r\u00e9enregistrent au printemps 2007 avec Dave Fridmann \u00e0 Tarbox Road Studios \u00e0 Cassadaga, New York, avec du travail suppl\u00e9mentaire \u00e0 Context \u00e0 Brooklyn. Fridmann produit, enregistre et mixe ; Greg Calbi masterise.<\/p>\n

On entend un rythme de danse r\u00e9gulier et des lignes de synth\u00e9 brillantes que Fridmann pousse plus fort en compression et distorsion que sur l’EP. Fridmann propose une l\u00e9g\u00e8re hausse de tempo ; le duo vise exactement le rythme de Dancing Queen<\/em> d’ABBA. VanWyngarden chante Paris, les mannequins, les bureaux et le trajet du matin comme une blague qui reste un avertissement de carri\u00e8re. Fridmann joue m\u00eame d’un Thingamagoop, gadget sensible \u00e0 la lumi\u00e8re, pour des cris montants. La batterie live remplace une partie de l’ancienne machine.<\/p>\n

L’album sort en digital le 2 octobre 2007 via RED Ink, puis en physique chez Columbia le 22 janvier 2008. Time to Pretend<\/em> ouvre le disque comme d\u00e9claration d’intention avant Electric Feel<\/em> et Kids<\/em>. Ray Tintori r\u00e9alise le clip. NME nommera plus tard Oracular Spectacular<\/em> album de l’ann\u00e9e ; Rolling Stone place morceau et album dans des listes de d\u00e9cennie. L’id\u00e9e d’EP universitaire survit, mais le mix Fridmann est la version festivals et radio.<\/p>\n

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\n

On voulait que ce soit exactement le tempo de Dancing Queen d’Abba et c’est le cas !<\/p>\n<\/blockquote>\n

(Ben Goldwasser sur la version Oracular Spectacular)<\/em><\/p>\n

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L’A&R de Columbia avait trouv\u00e9 l’EP et propos\u00e9 un contrat alors que le duo h\u00e9sitait \u00e0 se reformer. Enregistrer avec Fridmann ressemble \u00e0 un r\u00eave Flaming Lips : tir \u00e0 la carabine entre les prises, pizza, studio rural fait pour exp\u00e9rimenter. Ils refusent quand m\u00eame d’\u00eatre seulement un groupe \u00e0 singles ; la seconde moiti\u00e9 de l’album va plus loin dans le rock spatial. En tourn\u00e9e ils passent \u00e0 cinq avec Matthew Asti, James Richardson et Hank Sullivant pour porter les morceaux sur sc\u00e8ne. Skins aide plus tard le single \u00e0 revenir sur le radar britannique. Rolling Stone classe le titre parmi ses 500 plus grandes chansons ; NME le place haut dans ses propres listes. Time to Pretend<\/em> reste la porte d’entr\u00e9e de la plupart des auditeurs vers Oracular Spectacular<\/em>.<\/p>\n

\u00c9coutez la prise Oracular Spectacular<\/em>, pas seulement l’EP 2005. Tarbox Road, le grain de Fridmann et le tempo ABBA : voil\u00e0 l’\u0153uvre major d’origine qui a fait tenir le morceau. Gardez les blagues du texte en vue : bureaux, h\u00e9ro\u00efne, mannequins et divorce sont une satire de fantasme de carri\u00e8re, pas une brochure lifestyle.<\/p>\n

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