{"id":8017,"date":"2025-09-23T09:00:00","date_gmt":"2025-09-23T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/clocks-coldplay-2\/"},"modified":"2026-09-20T00:01:41","modified_gmt":"2026-09-19T22:01:41","slug":"clocks-coldplay-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/clocks-coldplay-2\/","title":{"rendered":"Clocks – Coldplay"},"content":{"rendered":"

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Le triolet arriv\u00e9 apr\u00e8s l’album<\/h3>\n

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Le piano ne s’assoit pas dans la poche d’une ballade. Il court, trois notes contre deux, une figure qui ne ressemble \u00e0 une horloge qu’une fois que quelqu’un l’a nomm\u00e9e. La voix de Chris Martin entre d\u00e9j\u00e0 \u00e0 bout de souffle, comme si le texte avait commenc\u00e9 dans le couloir. Clocks<\/em>, tir\u00e9e d’A Rush of Blood to the Head<\/em> en 2002, est une urgence avec un air que les gens peuvent fredonner avant de conna\u00eetre les mots. La guitare de Jonny Buckland ne concurrence pas. Elle suspend une lumi\u00e8re derri\u00e8re le piano et laisse la course continuer. La batterie de Will Champion pousse sans sprinter. La basse de Guy Berryman est le sol qui emp\u00eache le triolet de devenir une panique.<\/p>\n

Ils sont \u00e0 Parr Street, \u00e0 Liverpool, avec Ken Nelson, l’album qu’ils croyaient fini, dix chansons avec lesquelles ils \u00e9taient pr\u00eats \u00e0 vivre. Le riff arrive tard, Martin au piano apr\u00e8s la journ\u00e9e de travail, un pattern qu’il joue \u00e0 Buckland, qui r\u00e9pond avec des accords en delay. Ils en font une d\u00e9mo, l’\u00e9tiquettent pour un disque plus tard, et leur manager Phil Harvey entend l’esquisse et leur dit que cela ne peut pas attendre. Le morceau est ramen\u00e9 dans l’album et devient la pi\u00e8ce que l’ann\u00e9e ne les laissera pas laisser derri\u00e8re. La production de Nelson garde le piano sec et en avant. Rien ne cache la figure. Cette exposition est la chanson. Un arrangement plus d\u00e9cor\u00e9 se serait f\u00e9licit\u00e9. Celui-ci court.<\/p>\n

Le single suit, puis un Grammy du disque de l’ann\u00e9e, le genre de prix qui peut rendre un groupe officiel et une chanson finie. Clocks<\/em> n’a pas fini. Elle est rest\u00e9e dans les pubs, les stades, les mains de gens qui jouent le triolet sur n’importe quel piano o\u00f9 on les laisse seuls. En concert, Martin la commence souvent seul, la figure faisant les pr\u00e9sentations, la foule arrivant sur le mot you avant lui. La version de studio est plus rapide en sentiment qu’en tempo. C’est la sensation d’\u00eatre en retard \u00e0 sa propre vie, mise sur une partie qu’un enfant peut apprendre et qu’un batteur ne doit pas presser.<\/p>\n

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\n

Nous croyions l’album fini. Le piano est arriv\u00e9 \u00e0 la fin, et il \u00e9tait trop tard pour pr\u00e9tendre que nous pouvions le laisser de c\u00f4t\u00e9.<\/p>\n<\/blockquote>\n

(Chris Martin, sur les sessions de Rush of Blood)<\/em><\/p>\n

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L’album autour est plein de d\u00e9clarations plus larges, la politique, la d\u00e9votion, le scientifique \u00e0 la porte. Ce morceau est le syst\u00e8me nerveux. Il n’explique pas la h\u00e2te. Il est la h\u00e2te, ce qui est plus honn\u00eate. Ceux qui trouvent le groupe trop net accordent parfois \u00e0 celui-ci l’exception, parce que le piano ne veut pas se tenir. Il continue de bouger apr\u00e8s que le refrain a dit ce qu’il peut. Ce mouvement en trop est le sujet. Une horloge ne conclut pas. Elle continue, et la chanson copie l’impolitesse.<\/p>\n

Ce qui reste, c’est le retard de son arriv\u00e9e, encore audible. Un album \u00e9tait ferm\u00e9. Un manager l’a rouvert. Un triolet est entr\u00e9 et a pris la d\u00e9cennie. Clocks<\/em> sonne encore comme quelqu’un qui vient de se souvenir d’un rendez-vous et est d\u00e9j\u00e0 dans l’escalier, beau et peu dispos\u00e9 \u00e0 attendre que vous soyez pr\u00eat.<\/p>\n

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Le piano ne s’assoit pas dans la poche d’une ballade.<\/p>\n","protected":false},"author":1,"featured_media":8013,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[557],"class_list":["post-8017","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-coldplay"],"yoast_head":"\nClocks - Coldplay - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chronicles\/clocks-coldplay-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Clocks - Coldplay - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Le piano ne s'assoit pas dans la poche d'une ballade.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/fr\/chronicles\/clocks-coldplay-2\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2025-09-23T07:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-19T22:01:41+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2026\/09\/015.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"700\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:site\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/clocks-coldplay-2\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/clocks-coldplay-2\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/#\\\/schema\\\/person\\\/a6a40143836f6c8a45376e05d9879346\"},\"headline\":\"Clocks – Coldplay\",\"datePublished\":\"2025-09-23T07:00:00+00:00\",\"dateModified\":\"2026-09-19T22:01:41+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/clocks-coldplay-2\\\/\"},\"wordCount\":665,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/clocks-coldplay-2\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/riffsandbeats.com\\\/wp-content\\\/uploads\\\/2026\\\/09\\\/015.jpg\",\"keywords\":[\"Coldplay\"],\"articleSection\":[\"Chronicles\",\"Tracks\"],\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/clocks-coldplay-2\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/clocks-coldplay-2\\\/\",\"url\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/clocks-coldplay-2\\\/\",\"name\":\"Clocks - 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