{"id":8125,"date":"2026-01-20T09:00:00","date_gmt":"2026-01-20T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/love-will-tear-us-apart-joy-division-2\/"},"modified":"2026-09-20T00:01:44","modified_gmt":"2026-09-19T22:01:44","slug":"love-will-tear-us-apart-joy-division-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/love-will-tear-us-apart-joy-division-2\/","title":{"rendered":"Love Will Tear Us Apart – Joy Division"},"content":{"rendered":"

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

Une basse aigu\u00eb contre un mariage qui l\u00e2che<\/h3>\n

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La batterie commence comme si la chanson ne s’int\u00e9ressait pas au suspense, puis la basse de Peter Hook entre en haut, une m\u00e9lodie qui fait semblant d’\u00eatre une partie rythmique, plus claire que tout ce que le texte permettra. Ian Curtis chante avec cette pr\u00e9cision plate, \u00e9puis\u00e9e, la voix d’un homme qui lit un verdict qu’il a \u00e9crit lui-m\u00eame. Love Will Tear Us Apart<\/em> est la chanson pop que Joy Division ne comptait pas poss\u00e9der, et qu’ils n’ont pas pu poser. Le titre r\u00e9pond \u00e0 un tube am\u00e9ricain gai qu’il n’aimait pas, love will keep us together, en changeant un verbe et en ruinant le confort.<\/p>\n

Ils enregistrent la version single en mars 1980 aux Strawberry Studios de Stockport, Martin Hannett \u00e0 la production, le groupe d\u00e9j\u00e0 en train de s’effilocher. Le synth\u00e9tiseur de Bernard Sumner tient une lumi\u00e8re froide. Stephen Morris joue droit, ce qui sur ce morceau est une forme de merci. La ligne de Hook est l’argument que la voix est trop fatigu\u00e9e pour faire. Une tentative plus t\u00f4t, \u00e0 Pennine, n’avait pas satisfait Hannett, qui les a renvoy\u00e9s jusqu’\u00e0 ce que les parties se verrouillent. La chanson parle du mariage de Curtis avec Deborah, un fait que le texte ne se donne gu\u00e8re la peine de d\u00e9guiser et que la biographie n’a pas eu le droit d’oublier. Il meurt le 18 mai 1980. Le single sort en juin. L’ordre de ces dates est le montage cruel que le disque n’a pas demand\u00e9 et dont il n’a jamais \u00e9chapp\u00e9.<\/p>\n

Ce que l’arrangement comprend, c’est l’espace. La production de Hannett laisse de l’air autour de la caisse claire, une petite cruaut\u00e9 dans la r\u00e9verb\u00e9ration, la voix assez s\u00e8che pour sonner comme un homme dans une petite pi\u00e8ce plut\u00f4t que comme un fant\u00f4me dans une cath\u00e9drale. En concert, dans les derniers mois, elle pouvait \u00eatre plus rapide, plus d\u00e9sesp\u00e9r\u00e9e. La prise de studio est celle de la pierre tombale, le titre grav\u00e9 parce que la chanson avait d\u00e9j\u00e0 dit la chose que la vie ne pouvait pas d\u00e9dire. La Grande-Bretagne la fait entrer dans les classements, modestement d’abord, puis encore et encore en r\u00e9\u00e9dition, un tube qui arrive tard et n’arr\u00eate pas d’arriver.<\/p>\n

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\n

C’\u00e9tait la meilleure chose que nous ayons \u00e9crite, et c’\u00e9tait Ian qui \u00e9crivait sur sa vie en train de se d\u00e9faire. Nous en avons fait une chanson pop sans le vouloir.<\/p>\n<\/blockquote>\n

(Peter Hook, sur le single)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

New Order passerait des ann\u00e9es \u00e0 ne pas \u00eatre cette chanson, et \u00e0 la jouer quand m\u00eame, la basse de Hook encore la signature que personne d’autre ne pouvait tout \u00e0 fait habiter. Des reprises ont essay\u00e9 la tendresse et ont manqu\u00e9 la platitude, ou ont essay\u00e9 la platitude et ont manqu\u00e9 l’air. L’original tient les deux, et c’est pourquoi il fait encore l’effet d’une nouvelle. Un mariage qui finit n’est pas un sujet rare. Une ligne de basse qui chante la fin pendant que le chanteur la rapporte est plus rare, et la distance de Hannett emp\u00eache l’un ou l’autre de sangloter \u00e0 la place de l’auditeur.<\/p>\n

Ce qui reste, c’est cette m\u00e9lodie haute, ind\u00e9cemment belle sous un titre qui ne cille pas. Love Will Tear Us Apart<\/em> n’est pas une mal\u00e9diction et pas une promesse. C’est une observation mise sur une partie qu’on peut fredonner. Le studio de Stockport est un b\u00e2timent ordinaire. La prise ne l’est pas. Elle commence, elle \u00e9nonce, elle s’efface, et le verbe reste d\u00e9chir\u00e9.<\/p>\n

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La batterie commence comme si la chanson ne s’int\u00e9ressait pas au suspense, puis la basse de Peter Hook entre en haut, une m\u00e9lodie qui fait semblant d’\u00eatre une partie rythmique, plus claire que tout ce que le texte permettra.<\/p>\n","protected":false},"author":1,"featured_media":8121,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[648],"class_list":["post-8125","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-joy-division"],"yoast_head":"\nLove Will Tear Us Apart - Joy Division - 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\/love-will-tear-us-apart-joy-division-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Love Will Tear Us Apart - 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