{"id":7963,"date":"2025-09-18T11:00:00","date_gmt":"2025-09-18T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/karma-police-radiohead-2\/"},"modified":"2026-09-20T00:01:39","modified_gmt":"2026-09-19T22:01:39","slug":"karma-police-radiohead-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/karma-police-radiohead-2\/","title":{"rendered":"Karma Police – Radiohead"},"content":{"rendered":"

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Une blague de tourn\u00e9e qui a trouv\u00e9 un piano<\/h3>\n

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Le piano ne frappe pas. Il arrive \u00e0 pas r\u00e9guliers, poli et vaguement mena\u00e7ant, comme si quelqu’un d’officiel \u00e9tait entr\u00e9 dans une pi\u00e8ce calme. La voix de Thom Yorke reste petite contre lui, presque d\u00e9sol\u00e9e, jusqu’\u00e0 ce que l’harmonie bascule et que l’excuse tourne. Karma Police<\/em>, tir\u00e9e d’OK Computer<\/em> en 1997, a les mani\u00e8res d’une ballade et l’instinct d’une menace. Rien ne crie avant la fin, et la fin, elle, ne cesse plus de gr\u00e9siller.<\/p>\n

Le titre \u00e9tait une blague priv\u00e9e avant d’\u00eatre une chanson. Sur la route, quand quelqu’un dans l’orbite du groupe se comportait mal, les autres marmonnaient que la karma police finirait par le rattraper. Jonny Greenwood a racont\u00e9 cela sans l’arranger. La musique est venue plus tard, pendant les sessions d’OK Computer<\/em> avec le producteur Nigel Godrich, entre leur propre installation Canned Applause et les pi\u00e8ces de pierre de St Catherine’s Court, \u00e0 Bath. La figure de piano de Greenwood est toute l’intrigue. La batterie et la basse, Phil Selway et Colin Greenwood, gardent leur s\u00e9rieux. La guitare d’Ed O’Brien attend. Yorke chante comme si la blague lui avait tourn\u00e9 dans la main.<\/p>\n

\u00c0 mi-parcours, la personnalit\u00e9 change, c’est ainsi qu’il l’a d\u00e9crit un jour. Le piano poli c\u00e8de \u00e0 une tache de distorsion, une coda qui sonne comme une machine laiss\u00e9e allum\u00e9e apr\u00e8s le d\u00e9part du personnel. Le texte nomme ceux qui ne sont pas n\u00e9s, les bizarres, les gens qui bourdonnent comme un frigo, puis demande que cela s’arr\u00eate. C’est dr\u00f4le jusqu’\u00e0 ce que \u00e7a ne le soit plus. Le single suit l’album \u00e0 l’\u00e9t\u00e9 1997, et les foules apprennent le piano plus vite que l’ironie.<\/p>\n

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\n

C’\u00e9tait une expression du groupe pendant un moment, en tourn\u00e9e. Chaque fois que quelqu’un se comportait d’une fa\u00e7on particuli\u00e8rement infecte, on disait que la karma police finirait par le rattraper.<\/p>\n<\/blockquote>\n

(Jonny Greenwood, Melody Maker)<\/em><\/p>\n

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La radio l’a pris pour de la m\u00e9lancolie et a manqu\u00e9 la com\u00e9die de bureau. Yorke l’a aussi appel\u00e9 une chanson contre les patrons, d\u00e9di\u00e9e \u00e0 quiconque travaille pour une grande bo\u00eete. Les deux lectures tiennent, parce que la blague a toujours port\u00e9 sur le pouvoir et sur le fantasme que le pouvoir se fait punir. Sur sc\u00e8ne la coda s’allonge, un hymne de larsen. En studio elle est plus courte et plus m\u00e9chante, une br\u00fblure au bord d’un arrangement autrement net. OK Computer<\/em> a rendu le groupe \u00e9norme. Ce morceau est celui qui sonne encore comme cinq personnes dans une maison trop grande, qui s’amusent jusqu’\u00e0 ce que l’amusement reste coll\u00e9.<\/p>\n

Ce qui reste, c’est la r\u00e9gularit\u00e9 de ces pas de piano. Le karma, dans le texte, n’est pas une mystique. C’est l’espoir qu’une cruaut\u00e9 mesquine sera factur\u00e9e. Le disque ne prouve jamais cet espoir. Il joue seulement la marche dans le couloir, puis laisse les lumi\u00e8res l\u00e2cher. Certaines chansons de protestation l\u00e8vent le poing. Celle-ci remplit un formulaire, puis y met le feu.<\/p>\n

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