{"id":7957,"date":"2025-09-20T16:00:00","date_gmt":"2025-09-20T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/homogenic-bjork-2\/"},"modified":"2026-09-20T00:00:33","modified_gmt":"2026-09-19T22:00:33","slug":"homogenic-bjork-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/homogenic-bjork-2\/","title":{"rendered":"Homogenic – Bj\u00f6rk"},"content":{"rendered":"

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

Battements, cordes et un seul climat islandais<\/h3>\n

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Homogenic n’est pas arriv\u00e9 comme un compromis. Le 22 septembre 1997, One Little Indian a sorti le troisi\u00e8me album studio de Bj\u00f6rk, et le premier geste est un chasseur, pas un h\u00f4te. Hunter<\/em> s’ouvre sur des beats qui b\u00e9gaient et des cordes qui bougent comme un climat. Elle avait demand\u00e9 une seule saveur. Ce qu’elle a obtenu est un paysage : volcanique, exact, peu dispos\u00e9 \u00e0 couper la poire en deux entre une piste de danse et un fjord. La voix est au milieu, ni sucr\u00e9e ni cach\u00e9e.<\/p>\n

L’intimit\u00e9 \u00e9tait pratique. Apr\u00e8s l’\u00e9clat autour de Post<\/em> et du disque de remixes Telegram<\/em>, son batteur de tourn\u00e9e Trevor Morais a offert El Cortijo, son studio pr\u00e8s de M\u00e1laga, \u00e0 San Pedro de Alc\u00e1ntara. Elle comptait passer, rencontrer le guitariste de flamenco Raimundo Amador, et partir. Elle est rest\u00e9e et a fait le disque l\u00e0, avec un travail plus tardif dans sa maison de Londres. Elle s’est \u00e9loign\u00e9e de Nellee Hooper, qui avait fa\u00e7onn\u00e9 Debut<\/em> et Post<\/em>. Mark Bell, de LFO, est devenu l’interlocuteur \u00e9lectronique capable de la surprendre. Guy Sigsworth, Howie B et l’ing\u00e9nieur Markus Dravs sont au g\u00e9n\u00e9rique. Le sujet \u00e9tait un seul climat, pas une foule.<\/p>\n

Les chansons gardent ce climat et refusent pourtant de se r\u00e9p\u00e9ter. J\u00f3ga<\/em>, \u00e9crite pour son amie et sortie en single le 15 septembre 1997, est un serment pos\u00e9 sur des cordes qui enflent comme un littoral. La vid\u00e9o de Michel Gondry marche l’Islande comme si l’\u00eele \u00e9tait le texte. Unravel<\/em> est plus petit, un accord\u00e9on et un c\u0153ur d\u00e9crit comme une pelote que le diable ramasse. Bachelorette<\/em>, arrang\u00e9e en partie avec Eumir Deodato l\u00e0 o\u00f9 elle n’arrangeait pas elle-m\u00eame, est le moment d’op\u00e9ra : une d\u00e9claration assez grande pour une sc\u00e8ne, chant\u00e9e encore comme une lettre. L’Icelandic String Octet est l’autre voix, pas une garniture.<\/p>\n

All Neon Like<\/em>, 5 Years<\/em>, Immature<\/em>, Alarm Call<\/em>, Pluto<\/em> : la seconde moiti\u00e9 garde les beats rudes et les cordes formelles, ce qui est tout l’argument du disque. Nick Knight a photographi\u00e9 la pochette. Alexander McQueen a construit la robe, une vision blanche entre une guerri\u00e8re et un \u00e9v\u00e9nement g\u00e9ologique. La reprise de la photo a retard\u00e9 la sortie. L’image colle \u00e0 la musique parce que les deux refusent la joliesse comme but. Homog\u00e8ne, avait-elle dit. Une saveur. La saveur s’est r\u00e9v\u00e9l\u00e9e un contraste, tenu si serr\u00e9 qu’il ressemble \u00e0 une unit\u00e9.<\/p>\n

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\n

Homogenic est son disque le plus \u00e9motionnel, le plus charg\u00e9, le plus groovy, et un triomphe cinglant pour l’esprit d’aventure.<\/p>\n<\/blockquote>\n

(Ted Kessler, NME, 1997)<\/em><\/p>\n

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All Is Full of Love<\/em>, produit avec Howie B, ferme l’album comme une porte laiss\u00e9e ouverte expr\u00e8s. La vid\u00e9o de Chris Cunningham, en 1999, deux robots qui s’embrassent dans un nulle part blanc, est devenue l’image que la plupart ont rencontr\u00e9e en dernier et retenue en premier. La tourn\u00e9e avait d\u00e9j\u00e0 commenc\u00e9 en septembre 1997, parfois avant que le public connaisse les chansons, Mark Bell \u00e0 ses c\u00f4t\u00e9s et, plus tard, les cordes. Une infection r\u00e9nale a annul\u00e9 les dates am\u00e9ricaines cet automne-l\u00e0. En 1998 une tourn\u00e9e avec Radiohead a \u00e9t\u00e9 annonc\u00e9e puis abandonn\u00e9e, les plateaux ne se succ\u00e9daient pas proprement. Le disque a voyag\u00e9 quand m\u00eame.<\/p>\n

Ce qui reste, c’est la d\u00e9cision. Apr\u00e8s deux albums qui avaient fait entrer le monde, elle en a fait un qui sonnait comme un lieu. Les beats ne s’adoucissent pas pour rejoindre les violons, et les violons ne font pas semblant d’\u00eatre des synth\u00e9tiseurs. On peut encore poser le diamant sur J\u00f3ga<\/em> ou Unravel<\/em> et entendre une personne choisir un climat et y rester. Homogenic n’est pas une phase. C’est un littoral qu’elle a trac\u00e9, puis qu’elle a refus\u00e9 de quitter.<\/p>\n

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