{"id":8119,"date":"2025-11-22T16:00:00","date_gmt":"2025-11-22T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/another-green-world-brian-eno-2\/"},"modified":"2026-09-20T00:00:37","modified_gmt":"2026-09-19T22:00:37","slug":"another-green-world-brian-eno-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/another-green-world-brian-eno-2\/","title":{"rendered":"Another Green World – Brian Eno"},"content":{"rendered":"

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Cinq chansons, neuf climats, un parc sans sentier<\/h3>\n

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Another Green World ne s’annonce pas comme une r\u00e9volution. Il s’ouvre, sur Sky Saw<\/em>, avec une guitare qui sonne vraiment comme une scie, l’alto de John Cale qui pleure une fois, et une voix qui arrive tard, comme si l’instrumental avait \u00e9t\u00e9 le sujet depuis le d\u00e9but. Island Records a sorti l’album le 14 novembre 1975. Il n’est pas entr\u00e9 dans les classements britannique ou am\u00e9ricain. Ceux qui en avaient besoin l’ont trouv\u00e9 quand m\u00eame, comme on trouve un chemin en quittant le chemin.<\/p>\n

Eno a enregistr\u00e9 aux Island Studios de Londres en juillet et ao\u00fbt 1975, Rhett Davies \u00e0 l’ing\u00e9nierie, et les cartes Oblique Strategies qu’il avait faites avec le peintre Peter Schmidt dans la pi\u00e8ce comme troisi\u00e8me collaborateur. La m\u00e9thode n’\u00e9tait pas le chaos. C’\u00e9tait une fa\u00e7on de refuser la premi\u00e8re id\u00e9e. Phil Collins joue de la batterie. Percy Jones joue de la basse fretless. Robert Fripp, cr\u00e9dit\u00e9 d’une guitare Wimshurst sur St. Elmo’s Fire<\/em>, joue le solo qu’Eno comparait \u00e0 un g\u00e9n\u00e9rateur \u00e9lectrostatique : des \u00e9tincelles, de la retenue, pas d’esbroufe. Le groupe est une suite de visites, pas un effectif.<\/p>\n

Cinq morceaux ont des mots. Neuf n’en ont pas. Ce rapport est l’intrigue. St. Elmo’s Fire<\/em> est la chanson pop, un refrain qu’on emporte, v\u00eatu de ce qu’Eno appelait des guitares du d\u00e9sert. I’ll Come Running<\/em> est presque douce, une promesse avec le lead de Fripp enroul\u00e9 autour. Golden Hours<\/em> et Everything Merges with the Night<\/em> laissent une suite d’accords simple porter un manteau \u00e9trange. Puis les instrumentaux prennent le dessus : The Big Ship<\/em>, In Dark Trees<\/em>, Sombre Reptiles<\/em>, Becalmed<\/em>, Spirits Drifting<\/em>. Ce ne sont pas des restes. C’est le monde vert du titre, des lieux avec des noms et sans narrateur.<\/p>\n

La pochette est un d\u00e9tail du tableau de Tom Phillips, After Raphael<\/em>, une pastorale qui semble emprunt\u00e9e \u00e0 un autre si\u00e8cle et l\u00e9g\u00e8rement fausse, ce qui est exactement le son. Eno avait d\u00e9j\u00e0 fait Here Come the Warm Jets<\/em> et Taking Tiger Mountain (By Strategy)<\/em>, des albums d’art-rock avec des blagues sur la feuille de paroles. Celui-ci garde les blagues plus basses et l’atmosph\u00e8re plus forte. Il n’\u00e9tait pas encore le th\u00e9oricien ambient complet de Discreet Music<\/em>, sorti la m\u00eame ann\u00e9e, mais il laissait d\u00e9j\u00e0 les processus partager le poids. Les morceaux sont courts. Le sentiment ne l’est pas.<\/p>\n

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\n

Another Green World est en effet un disque important, et aussi un disque brillant.<\/p>\n<\/blockquote>\n

(Charley Walters, Rolling Stone, 1976)<\/em><\/p>\n

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Robert Christgau, qui a fini par aimer l’album, l’a appel\u00e9 l’\u00e9quivalent sonore d’un parc sur la lune. La formule est juste. On peut le marcher en fond et se sentir calm\u00e9, puis s’arr\u00eater sur Zawinul\/Lava<\/em> ou Little Fishes<\/em> et trouver une forme qu’on avait manqu\u00e9e. Le risque sur lequel Eno insistait, \u00e9crivait Walters, n’arr\u00eatait pas de payer. Il n’y a pas de single qui explique le disque. Il y a une suite qui apprend \u00e0 \u00e9couter des suites. Cette le\u00e7on compterait plus que n’importe quelle place dans un classement que l’album n’a jamais eue.<\/p>\n

L’aval est c\u00e9l\u00e8bre et m\u00e9rite encore d’\u00eatre dit simplement. David Bowie a fait entrer Eno dans la pi\u00e8ce pour Low<\/em>, \u00ab\u00a0Heroes\u00a0\u00bb<\/em> et Lodger<\/em>, et le climat instrumental de ces disques est impensable sans celui-ci. Les producteurs qui ont parl\u00e9 ensuite de texture plut\u00f4t que de refrain citaient une habitude de 1975, qu’ils la nomment ou non. Another Green World n’est pas un plan qu’on photocopie. C’est une permission : laisser neuf morceaux sans mots, laisser une basse \u00eatre fretless et une guitare \u00eatre une scie, et appeler le r\u00e9sultat un monde. Le parc est encore ouvert. Le sentier est encore facultatif.<\/p>\n

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