{"id":5991,"date":"2025-05-20T00:13:59","date_gmt":"2025-05-19T22:13:59","guid":{"rendered":"https:\/\/riffsandbeats.com\/2025\/05\/20\/the-wall-pink-floyd\/"},"modified":"2025-05-30T07:50:27","modified_gmt":"2025-05-30T05:50:27","slug":"the-wall-pink-floyd","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/the-wall-pink-floyd\/","title":{"rendered":"The Wall – Pink Floyd"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Un monument d’ego et de g\u00e9nie.<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

Vous n’\u00e9coutez pas The Wall. Vous y vivez. Vous rampez de pi\u00e8ce en pi\u00e8ce, brique par brique, jusqu’\u00e0 ce que l’air devienne trop lourd et que la voix dans votre t\u00eate commence \u00e0 ressembler terriblement \u00e0 celle de Roger Waters. Sorti en 1979, \u00e0 la fin d’une d\u00e9cennie alourdie par l’ego, la parano\u00efa et les boules \u00e0 facettes, The Wall n’\u00e9tait pas tant un album qu’une psycho-architecture. Oui, une rock-op\u00e9ra \u2014 mais pas du genre flamboyant. L’op\u00e9ra comme auto-\u00e9visc\u00e9ration, c’\u00e9tait \u00e7a.<\/p>\n

 <\/p>\n

Tout a commenc\u00e9 avec Waters esquissant le design de l’\u00e9loignement, de la d\u00e9sillusion et de la rupture identitaire \u2014 principalement la sienne \u2014 mais il l’a drap\u00e9 dans la peau fictive de \u00ab\u00a0Pink\u00a0\u00bb, un personnage \u00e0 la fois repr\u00e9sentant, avertissement et fant\u00f4me. Sous la direction du producteur Bob Ezrin, le groupe, bris\u00e9 et presque muet, s’est rassembl\u00e9 pour cr\u00e9er l’un des albums les plus ambitieux, confin\u00e9s et co\u00fbteux de l’histoire du rock. De cette tension et de ces bandes magn\u00e9tiques est sorti un chef-d’\u0153uvre.<\/p>\n

 <\/p>\n

Pourtant, les refrains sont indiscutables. Avec son ch\u0153ur d’enfants chantant avec une pr\u00e9cision saisissante, Another Brick in the Wall (Part II) est devenu un hymne \u00e0 succ\u00e8s. Vient ensuite Comfortably Numb, avec le solo de guitare de David Gilmour qui semble plus saigner de l’\u00e2me que simplement \u00eatre jou\u00e9. Chaque morceau est un autre chemin dans le labyrinthe, hant\u00e9 par le remords, la col\u00e8re ou la r\u00e9signation ; Hey You, Mother, Run Like Hell. Ce n’\u00e9tait pas Pink Floyd tournoyant dans l’espace. Ici, ils fouillaient le sol.<\/p>\n

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\n

The Wall prend vie avec une rage lyrique implacable, clairement sinc\u00e8re et, dans son souci du d\u00e9tail minutieux, finalement terrifiante.<\/p>\n<\/blockquote>\n

 <\/p>\n

(Kurt Loder, Rolling Stone, 1980)<\/em><\/p>\n

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La mani\u00e8re dont The Wall a captur\u00e9 l’angoisse culturelle de son \u00e9poque est ce qui lui conf\u00e8re un attrait durable. L’Am\u00e9rique se remettait difficilement du scandale du Watergate et de la guerre du Vietnam, tandis que la Grande-Bretagne oscillait entre incertitudes et l’\u00e8re Thatcher. Autrefois voyageurs psych\u00e9d\u00e9liques, Pink Floyd avaient tourn\u00e9 leur regard vers l’int\u00e9rieur ; le r\u00e9sultat fut un portrait de la solitude dans une \u00e9poque de vacarme m\u00e9diatique. The Wall \u00e9tait connu politiquement, existentiellement et douloureusement.<\/p>\n

 <\/p>\n

Cela les a certainement d\u00e9chir\u00e9s. La tourn\u00e9e fut un chaos logistique et \u00e9motionnel. Pendant l’enregistrement, Wright fut renvoy\u00e9. Waters partirait peu apr\u00e8s. Plus tard, Gilmour qualifierait toute cette affaire de \u00ab lugubre \u00bb. Pourtant, The Wall perdure non pas malgr\u00e9 sa lourdeur, mais justement \u00e0 cause d’elle. Grav\u00e9 sur vinyle et magnifi\u00e9 par une grandeur orchestrale m\u00eal\u00e9e \u00e0 l’effroi post-punk, c’est la d\u00e9composition la plus complexe du rock. Transformant l’apitoiement en art, cet album concept si parfait, si ferm\u00e9 a fait vibrer le monde entier.<\/p>\n

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Tu n’\u00e9coutes pas The Wall. Tu y vis. 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