{"id":7951,"date":"2019-07-26T13:00:00","date_gmt":"2019-07-26T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/blue-monday-new-order-2\/"},"modified":"2026-11-09T07:11:40","modified_gmt":"2026-11-09T06:11:40","slug":"blue-monday-new-order-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/blue-monday-new-order-2\/","title":{"rendered":"New Order – Blue Monday"},"content":{"rendered":"

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Maxi Factory 1983, bo\u00eete \u00e0 rythmes pour la danse<\/h3>\n

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Blue Monday<\/em> est le maxi Factory Records 1983 de New Order, un morceau de bo\u00eete \u00e0 rythmes et de s\u00e9quenceur b\u00e2ti pour faire danser. Bernard Sumner, Peter Hook, Stephen Morris et Gillian Gilbert traitent le titre comme de l\u2019ing\u00e9nierie autant que de l\u2019\u00e9criture. La grosse caisse entre d\u00e8s le d\u00e9but. Les synth\u00e9s piquent sur une grille stricte. La m\u00e9lodie de basse de Hook circule en haut tandis que le grave reste aux machines. La voix de Sumner entre tard, presque d\u00e9tach\u00e9e, une fois que le rythme tourne d\u00e9j\u00e0.<\/p>\n

Sumner a dit plus tard que ce n\u2019\u00e9tait pas vraiment leur meilleure chanson, mais qu\u2019elle \u00e9tait con\u00e7ue comme une machine \u00e0 faire danser. Le disque suit cette description. La pochette floppy-disk est devenue folklore de collectionneurs ; le fait musical est plus simple : des clubs de Manchester \u00e0 New York pouvaient se caler sur la m\u00eame pulsation. L\u2019infrastructure ind\u00e9pendante Factory a pouss\u00e9 un outil de plus de sept minutes dans le grand public sans le vernis d\u2019une major. Les r\u00e8gles des classements et la culture du maxi ont fait le reste.<\/p>\n

Apr\u00e8s Joy Division, New Order avait besoin de morceaux qui ne soient pas seulement le deuil. Blue Monday<\/em> est ce langage en public : \u00e9lectronique, froid, encore m\u00e9lodique. En live, le groupe a parfois pein\u00e9 \u00e0 reproduire l\u2019exactitude machine ; la puissance du disque, c\u2019est cette exactitude. Remixes et r\u00e9\u00e9ditions ont gard\u00e9 la grosse caisse en circulation des d\u00e9cennies. Les DJs s\u2019en sont servis comme d\u2019un disque pour tenir une soir\u00e9e. Des versions radio existent, mais les clubs ont gard\u00e9 le long maxi.<\/p>\n

Comme disque Factory de 1983, le titre montre un groupe post-punk qui entre dans la dance sans habiller le morceau autrement. Il n\u2019y a pas de solo rock et aucun passage ballade n\u2019adoucit la grille. Apr\u00e8s un disque Joy Division plus ancien, le changement d\u2019outils s\u2019entend. M\u00eame ville, autres instruments et peu de tentative de r\u00e9chauffer le mix. Les machines tiennent la pulsation, la basse de Hook porte la m\u00e9lodie et la voix de Sumner reste s\u00e8che.<\/p>\n

Les histoires de ventes autour de la pochette ch\u00e8re et de l\u2019\u00e9conomie Factory sont c\u00e9l\u00e8bres ; elles ne doivent pas distraire de l\u2019arrangement. La programmation de Morris et Gilbert, la basse aigu\u00eb de Hook, les lignes s\u00e8ches de Sumner : chaque partie a un r\u00f4le fix\u00e9. Voil\u00e0 pourquoi la grosse caisse marche encore sur une piste, des d\u00e9cennies plus tard. C\u2019est l\u2019arrangement qui fait bouger la piste. Le maxi d\u00e9passe sept minutes sur la m\u00eame grille. Des groupes \u00e9lectroniques plus tardifs ont suivi le m\u00eame ordre : programmer le rythme d\u2019abord, puis d\u00e9cider si une voix est n\u00e9cessaire. Les clubs de Manchester le passaient d\u00e9j\u00e0 pendant que les hebdomadaires \u00e9crivaient encore sur la pochette et les ventes.<\/p>\n

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Ce n\u2019est pas vraiment notre meilleure chanson, mais elle \u00e9tait con\u00e7ue comme une machine \u00e0 faire danser les gens.<\/p>\n<\/blockquote>\n

(Bernard Sumner, Mad World)<\/em><\/p>\n

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Blue Monday<\/em> reste le disque dance Factory le plus net : grosse caisse d\u2019abord, grille stricte, m\u00e9lodie Hook en haut, Sumner tardif et sec.<\/p>\n

Sumner l\u2019a d\u00e9crit comme une machine \u00e0 faire danser. Le maxi le fait encore.<\/p>\n

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