{"id":8593,"date":"2026-04-25T16:00:00","date_gmt":"2026-04-25T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/cars-gary-numan-2\/"},"modified":"2026-09-19T23:59:11","modified_gmt":"2026-09-19T21:59:11","slug":"cars-gary-numan-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/cars-gary-numan-2\/","title":{"rendered":"Cars – Gary Numan"},"content":{"rendered":"

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Un char que l’on verrouille de l’int\u00e9rieur<\/h3>\n

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Une basse de synth\u00e9tiseur trace une ligne froide comme une autoroute la nuit, et la voix de Gary Numan s’y pose sans chaleur, r\u00e9p\u00e9tant un confort qui sonne comme une r\u00e8gle.<\/p>\n

Cars<\/em> est enregistr\u00e9 en 1979 \u00e0 Marcus Music, \u00e0 Londres, pour The Pleasure Principle<\/em>, que Numan produit lui-m\u00eame, et sort en ao\u00fbt sous son nom apr\u00e8s les disques de Tubeway Army. Il n’y a pas de guitare. Polymoog et Minimoog portent l’harmonie, une bo\u00eete \u00e0 rythmes et une batterie se partagent la pulsation, et la voix est presque conversationnelle, un homme qui explique une pr\u00e9f\u00e9rence. La pr\u00e9f\u00e9rence vient d’un apr\u00e8s-midi pr\u00e9cis. Bloqu\u00e9 dans le trafic londonien, il est pris \u00e0 partie par deux hommes qui sortent de la voiture devant, donnent des coups dans la sienne, essaient de l’en extraire. Il monte sur le trottoir, disperse des pi\u00e9tons, s’\u00e9chappe. Ensuite la voiture n’est plus un transport. C’est une armure. Le single va au num\u00e9ro un en Grande-Bretagne et entre dans le top ten am\u00e9ricain l’ann\u00e9e suivante, une chanson-machine que les gens chantent comme une chanson d’amour, ce qu’elle n’est pas.<\/p>\n

Il a racont\u00e9 l’histoire sans la d\u00e9guiser en th\u00e9orie. Dans Mojo, en 2008, il d\u00e9crit les hommes \u00e0 la vitre, l’embard\u00e9e, les pi\u00e9tons, et la phrase qui a suivi : il s’est mis \u00e0 voir la voiture comme le char de la soci\u00e9t\u00e9 moderne. Le texte est cette phrase pos\u00e9e sur un riff qu’il avait d\u00e9j\u00e0. Here in my car I feel safest of all. Des auditeurs ont plus tard projet\u00e9 la piste sur son syndrome d’Asperger, la difficult\u00e9 des autres, la coque. Il a laiss\u00e9 la projection et gard\u00e9 l’origine plus \u00e9troite. C’\u00e9tait une agression, puis une image. L’image se trouvait convenir \u00e0 une vie.<\/p>\n

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Deux types se sont mis \u00e0 regarder par la vitre et, pour une raison ou une autre, m’ont pris en grippe, alors j’ai d\u00fb m’esquiver. J’ai vir\u00e9 sur le trottoir, en dispersant des pi\u00e9tons partout. Apr\u00e8s \u00e7a, j’ai commenc\u00e9 \u00e0 voir la voiture comme le char de la soci\u00e9t\u00e9 moderne.<\/p>\n<\/blockquote>\n

(Gary Numan, Mojo, 2008)<\/em><\/p>\n

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Sur sc\u00e8ne la chanson est un rectangle de lumi\u00e8re et un homme qui ne fait pas semblant d’\u00eatre un frontman \u00e0 l’ancienne. Il se tient l\u00e0, le riff fait le salut, et le public fournit la chaleur que le disque retient. Ce march\u00e9 a dur\u00e9. On a utilis\u00e9 le morceau pour vendre de vraies voitures, contresens avec lequel il a v\u00e9cu, la ligne sur la s\u00e9curit\u00e9 tir\u00e9e d’une chanson sur la peur. L’arrangement ne date pas comme le rock \u00e0 guitares de 1979. Il \u00e9tait d\u00e9j\u00e0 au futur. Quand il y est revenu des d\u00e9cennies plus tard, plus dur, les guitares enfin admises, le riff n’en avait toujours pas besoin.<\/p>\n

Ce qui reste, c’est l’honn\u00eatet\u00e9 d’une petite phobie rendue immense. Numan n’a pas \u00e9crit un hymne de la route ouverte. Il a \u00e9crit une porte verrouill\u00e9e avec un air. Les synth\u00e9s sont le m\u00e9tal. La voix est la personne dedans, qui ne re\u00e7oit le monde que comme un signal, stable pendant des jours si les portes restent closes. C’est un confort solitaire, offert sans honte. Beaucoup de gens, coinc\u00e9s dans leur propre trafic, ont entendu leur propre char et ont chant\u00e9, contents que quelqu’un ait avou\u00e9 le d\u00e9sir d’\u00eatre enferm\u00e9, en mouvement, et laiss\u00e9 seul.<\/p>\n

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