{"id":7484,"date":"2024-08-13T13:00:00","date_gmt":"2024-08-13T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/recto-verso-paradis\/"},"modified":"2026-11-09T07:14:11","modified_gmt":"2026-11-09T06:14:11","slug":"recto-verso-paradis","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/albums-fr\/recto-verso-paradis\/","title":{"rendered":"Recto Verso – Paradis"},"content":{"rendered":"

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Tempos house fran\u00e7ais, phras\u00e9 chanson, sessions en appartement parisien<\/h3>\n

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Recto Verso<\/em> s’ouvre avec Instantan\u00e9<\/em> : accords lents, synth\u00e9s doux, une voix juste au-dessus du beat. Simon M\u00e9ny et Pierre Rousseau (Paradis) avaient d\u00e9j\u00e0 montr\u00e9 leur go\u00fbt sur des singles comme la reprise Bashung La Ballade de Jim<\/em>. Leur premier album, sorti le 23 septembre 2016 chez Barclay\/Riviera, compte douze titres et environ 63 minutes. Le phras\u00e9 chanson fran\u00e7aise chevauche des rythmes house sans forcer les drops. La batterie reste douce et proche. La basse est pr\u00e8s de la voix. Les voix sont mix\u00e9es comme un instrument de plus : ni enterr\u00e9es ni pouss\u00e9es. Le disque ne court jamais. Les grooves durent assez longtemps pour que de petits d\u00e9tails apparaissent dans les parties calmes.<\/p>\n

Des titres comme Toi et moi<\/em>, Miroir (Un)<\/em> \/ Miroir (Deux)<\/em> et Garde le pour toi<\/em> fonctionnent comme de courtes sc\u00e8nes : lignes r\u00e9p\u00e9t\u00e9es, espace st\u00e9r\u00e9o soign\u00e9, pas de climax soudain pour points DJ. Les habitudes classiques et design de Pierre se voient dans les structures ; le background mode-et-voix de Simon dans le phras\u00e9 et la pr\u00e9sence. Ils travaillaient tard dans un appartement parisien, la ville filtrant par les fen\u00eatres ouvertes, en trackant avec la patience d’un duo plus int\u00e9ress\u00e9 par l’\u00e9quilibre que par les drops festival. Scooters et klaxons lointains reviennent dans les r\u00e9cits des sessions et les mixes sonnent domestiques plut\u00f4t que taille festival. Julien Delfaud a mix\u00e9 l’album ; Chab l’a masteris\u00e9. La trompette de Cyprien Sorel colore le titre \u00e9ponyme ; Paradis (Reprise)<\/em> revisite la chanson d’Alain Chamfort sur des paroles de Jacques Duvall.<\/p>\n

Le titre vise la sym\u00e9trie : chaque arrangement se courbe vers l’int\u00e9rieur, voyelles fran\u00e7aises sur une grosse caisse de danse claire et r\u00e9guli\u00e8re quand l’album choisit de bouger. Les influences se nomment sans mythologie : Sade et \u00c9tienne Daho dans le calme vocal, early Chicago house dans le corps de la batterie. Le r\u00e9sultat ne se fige pas \u00e0 une ann\u00e9e de mode French Touch. Radio UTD a dit le disque profond et progressif en production \u00e9lectronique et encore aimable en chansons ; cette double lecture colle. Casque ou petites enceintes, les deux marchent. Les clubs qui voulaient du punch ont regard\u00e9 ailleurs ; les sets tardifs et les salons ont gard\u00e9 celui-ci.<\/p>\n

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Recto Verso est profond, complexe, passionn\u00e9 et progressif. S’il n’est pas per\u00e7u comme un exemple d’excellence de production \u00e9lectronique, qu’on se souvienne au moins de lui pour ses paroles attachantes.<\/p>\n<\/blockquote>\n

(Radio UTD, 2016)<\/em><\/p>\n

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Autour de la sortie, les titres \u00e9lectroniques fran\u00e7ais misaient souvent sur une clart\u00e9 plus dure et l’impact festival. Paradis proposait quelque chose de plus doux sans supprimer la pulsation dance. Les singles Toi et moi<\/em> et Garde le pour toi<\/em> ont donn\u00e9 des portes d’entr\u00e9e claires \u00e0 la radio et aux blogs ; Instantan\u00e9<\/em> et Contours<\/em> r\u00e9compensent les \u00e9coutes plus longues. L’album a circul\u00e9 de main en main dans caf\u00e9s, librairies, chambres et quelques charts DJ patients \u00e0 c\u00f4t\u00e9 de disques ambient. Pas besoin d’une grosse campagne pour rester en rotation chez ceux qui voulaient paroles fran\u00e7aises et tempo house dans la m\u00eame pi\u00e8ce.<\/p>\n

Apr\u00e8s l’album le duo a recul\u00e9 de la marque commune. Pierre Rousseau est pass\u00e9 aux musiques de film et au solo \u00e9lectronique ; Simon M\u00e9ny a explor\u00e9 voix, projets li\u00e9s \u00e0 la mode et son de son c\u00f4t\u00e9. R\u00e9\u00e9ditions et playlists ont ensuite ramen\u00e9 des auditeurs occasionnels \u00e0 Recto Verso<\/em> comme document soft-house des ann\u00e9es 2010 avec ADN chanson. \u00c7a reste leur grand \u00e9nonc\u00e9 commun : complet, soigneusement mix\u00e9, encore utile comme contre-exemple au branding \u00e9lectronique fran\u00e7ais plus bruyant de la d\u00e9cennie. Les playlists streaming l’ont class\u00e9 indiff\u00e9remment soft electronic et French indie, ce qui colle \u00e0 l’\u00e9criture hybride. Piste par piste on nomme l’empreinte de production (kick sec, pads doux, lead fran\u00e7ais conversationnel). L’album ne s’arr\u00eate pas pour expliquer la m\u00e9thode. Il va au bout et laisse cette empreinte intacte pour qui cartographie l’\u00e9criture \u00e9lectronique parisienne apr\u00e8s la premi\u00e8re vague French Touch.<\/p>\n

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