{"id":5875,"date":"2022-05-08T19:00:00","date_gmt":"2022-05-08T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/2024\/02\/11\/the-bitter-end-placebo\/"},"modified":"2026-11-09T07:13:02","modified_gmt":"2026-11-09T06:13:02","slug":"the-bitter-end-placebo","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/the-bitter-end-placebo\/","title":{"rendered":"Placebo – The Bitter End"},"content":{"rendered":"

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Single de mars 2003 : Sleeping with Ghosts, Abbiss, n\u00b012 UK<\/h3>\n

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The Bitter End<\/em> est le premier single du quatri\u00e8me album studio de Placebo, Sleeping with Ghosts<\/em>. Hut \/ Virgin sort le single le 10 mars 2003 ; l’album suit le 24 mars. Jim Abbiss produit les sessions, surtout enregistr\u00e9es au Town House et \u00e0 Sarm West \u00e0 Londres, puis mix\u00e9es \u00e0 Mayfair. Brian Molko chante ; Stefan Olsdal joue guitare et basse ; Steve Hewitt joue de la batterie. Le morceau dure environ trois minutes dix. Il culmine \u00e0 la 12e place du UK Singles Chart, meilleur score britannique du groupe sur cette campagne et figure ensuite sur la compilation 2004 Once More with Feeling<\/em>. L’album atteint la 11e place au Royaume-Uni et la premi\u00e8re place en France et en Wallonie.<\/p>\n

L’arrangement commence serr\u00e9, avec des angles nets. Les guitares piquent en phrases courtes au lieu de divaguer. La batterie de Hewitt tient une marche froide et r\u00e9guli\u00e8re. La voix nasale de Molko reste pr\u00e8s du micro et traite le texte comme un avertissement murmur\u00e9 plus que comme un refrain crach\u00e9. Les paroles font signe vers 1984<\/em> d’Orwell : amour condamn\u00e9 habill\u00e9 en angoisse de surveillance, avec l’\u00e9cho du ch\u00e2taignier que les fans rep\u00e8rent tout de suite. Apr\u00e8s Black Market Music<\/em> (2000), le groupe avait besoin d’un visage public plus net sans l\u00e2cher le ton sombre. Abbiss livre de la pr\u00e9cision plut\u00f4t que du flou : menace rang\u00e9e, accroches nettes.<\/p>\n

Deux CD singles et un 45 tours portent des faces B diff\u00e9rentes, dont une reprise de Daddy Cool<\/em> de Boney M., plus Evalia<\/em> et Drink You Pretty<\/em>. Dan Tallis \u00e0 la BBC y voit un bon tube pop avec assez d’atmosph\u00e8re gothique pour les vieux fans et assez de guitares radio pour les nouveaux ind\u00e9s. Ce double cahier des charges colle au mix. Abbiss produira plus tard le premier Arctic Monkeys ; ici il privil\u00e9gie d\u00e9j\u00e0 des guitares devant et une voix qui ne se cache pas. En live, The Bitter End<\/em> rejoint Every You Every Me<\/em> parmi les titres les plus jou\u00e9s du groupe dans la d\u00e9cennie suivante.<\/p>\n

D\u00e9but 2003, le rock alternatif britannique bouge : le nu-metal perd du poids \u00e0 la radio de jour et beaucoup d’ind\u00e9s troquent le volume contre l’ironie. Placebo se tient \u00e0 l’\u00e9cart de la nostalgie Britpop. Le groupe est trop gothique pour cette sc\u00e8ne et trop tranchant pour une ballade molle. Il joue pourtant les clubs et les festivals europ\u00e9ens. Molko, Olsdal et Hewitt forment le trio stable depuis la fin des ann\u00e9es 1990 ; ce single les montre concentr\u00e9s avant les changements de batteur. Les classements en France, Italie, Finlande et Gr\u00e8ce prouvent que le refrain voyage hors de la presse hebdomadaire britannique.<\/p>\n

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Il faut le reconna\u00eetre, ‘The Bitter End’, le single r\u00e9cent, est un bon tube pop. Il a juste ce qu’il faut d’atmosph\u00e8re gothique sombre pour contenter leurs fans et assez de guitares radio-friendly pour plaire \u00e0 la nouvelle g\u00e9n\u00e9ration d’ind\u00e9s.<\/p>\n<\/blockquote>\n

(Dan Tallis, BBC, 2003)<\/em><\/p>\n

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Vingt ans plus tard, le morceau tient encore comme chanson de rupture et le texte reste parano\u00efaque. Compilations, festivals et playlists l’ont gard\u00e9 en rotation sans lisser cette parano\u00efa. \u00c0 c\u00f4t\u00e9 des titres plus calmes de Sleeping with Ghosts<\/em>, ce single reste la face visible du disque : court et m\u00e9lodique, avec la tension dedans.<\/p>\n

Le coup de guitare d’ouverture et la caisse claire froide de Hewitt lancent le single. La voix de Molko reste pr\u00e8s du micro. Le texte fait signe \u00e0 Orwell. L’arrangement tient la tension. Le single de charts n’ajoutait pas une section plus spectaculaire par-dessus.<\/p>\n

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