{"id":8623,"date":"2026-07-30T11:00:00","date_gmt":"2026-07-30T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/enola-gay-orchestral-manoeuvres-in-the-dark-2\/"},"modified":"2026-09-19T23:59:13","modified_gmt":"2026-09-19T21:59:13","slug":"enola-gay-orchestral-manoeuvres-in-the-dark-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/enola-gay-orchestral-manoeuvres-in-the-dark-2\/","title":{"rendered":"Enola Gay – Orchestral Manoeuvres in the Dark"},"content":{"rendered":"

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Un air gai sur la bombe<\/h3>\n

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Un synth\u00e9tiseur clair comme un jouet \u00e9nonce une m\u00e9lodie qu’on pourrait siffler dans une cour d’\u00e9cole, et Andy McCluskey se met \u00e0 chanter le nom d’un avion comme si c’\u00e9tait celui d’une fille, ce qui, terriblement, \u00e9tait le cas.<\/p>\n

Orchestral Manoeuvres in the Dark enregistrent Enola Gay<\/em> \u00e0 Ridge Farm, dans le Surrey, pour Organisation<\/em>, leur deuxi\u00e8me album, Mike Howlett \u00e0 la production, et la sortent en septembre 1980. McCluskey l’\u00e9crit. Il \u00e9tait un gar\u00e7on qui montait des avions Airfix et lisait la guerre, non par c\u00e9l\u00e9bration, a-t-il dit, mais parce que les exemptions morales du temps de guerre ne le l\u00e2chaient pas. L’Enola Gay \u00e9tait le B-29 qui a l\u00e2ch\u00e9 la bombe nomm\u00e9e Little Boy sur Hiroshima. Paul Tibbets, le pilote, avait donn\u00e9 \u00e0 l’appareil le nom de sa m\u00e8re. McCluskey a mis tout cela dans une ligne dont il \u00e9tait fier : is mother proud of little boy today. Le manager a menac\u00e9 de d\u00e9missionner s’ils la sortaient en single. Ils l’ont fait. Elle atteint la 8e place en Grande-Bretagne et devient \u00e9norme en Europe, un disque de danse sur une atrocit\u00e9.<\/p>\n

Paul Humphreys, qui partage les machines, a dit qu’il avait toujours \u00e9t\u00e9 mal \u00e0 l’aise que ce soit une chanson pop claire et enjou\u00e9e sur un holocauste nucl\u00e9aire, et qu’elle \u00e9tait malgr\u00e9 tout follement entra\u00eenante. Le malaise est la composition. Le Korg \u00e9nonce le refrain avec l’innocence d’un jeu, et la voix ne sourit pas avec lui. Sur sc\u00e8ne la salle danse, parce que le disque le lui a dit, et les mots gardent leur acte d’accusation. McCluskey a refus\u00e9 l’id\u00e9e que la chanson c\u00e9l\u00e8bre quoi que ce soit. C’est une discussion, a-t-il dit, d’un dilemme sans c\u00f4t\u00e9 propre : une bombe qui a tu\u00e9 une ville, un pilote qui croyait avoir raccourci une guerre. Le single ne juge pas. Il met la question dans un air auquel on ne peut pas rester assis, ce qui est une accusation en soi.<\/p>\n

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J’ai toujours \u00e9t\u00e9 mal \u00e0 l’aise du fait qu’Enola Gay \u00e9tait une chanson pop claire et enjou\u00e9e sur un holocauste nucl\u00e9aire, mais elle \u00e9tait follement entra\u00eenante.<\/p>\n<\/blockquote>\n

(Paul Humphreys, The Guardian, 2013)<\/em><\/p>\n

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On a jou\u00e9 le morceau dans des c\u00e9r\u00e9monies et dans des discoth\u00e8ques, et les deux usages sont inconfortables, ce qui veut dire que les deux \u00e9coutent. OMD \u00e9taient deux jeunes gens du Wirral avec des claviers bon march\u00e9 et une carte de biblioth\u00e8que. Ils ont fait un tube d’une le\u00e7on d’histoire que la radio n’aurait jamais command\u00e9e. L’arrangement n’est presque rien : une pulsation de basse, une bo\u00eete \u00e0 rythmes, cette m\u00e9lodie, une voix. Le vide est respectueux. Pas de champignon orchestral, pas d’h\u00e9ro\u00efsme de guitare. L’horreur reste dans les mots, et le corps est invit\u00e9 \u00e0 bouger, et l’auditeur doit vivre avec les deux consignes.<\/p>\n

Ce qui reste, c’est la ligne sur la m\u00e8re. Elle fonctionne de trois fa\u00e7ons, comme McCluskey le voulait : la m\u00e8re de Tibbets, le surnom de la bombe, et la question humaine simple de savoir si quelqu’un devrait \u00eatre fier. Une chanson pop capable de tenir tout cela sans le\u00e7on est plus rare qu’un disque de protestation avec une brochure. Enola Gay<\/em> est encore siffl\u00e9e par des gens qui apprennent ensuite ce qu’ils sifflent. L’apprentissage n’ab\u00eeme pas l’air. Il le compl\u00e8te. La m\u00e9lodie de cour d’\u00e9cole n’a jamais \u00e9t\u00e9 innocente. Elle en avait seulement l’air, ce qui \u00e9tait le sujet, le risque, et la raison pour laquelle elle est encore l\u00e0.<\/p>\n

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Un synth\u00e9tiseur clair comme un jouet \u00e9nonce une m\u00e9lodie qu’on pourrait siffler dans une cour d’\u00e9cole, et Andy McCluskey se met \u00e0 chanter le nom d’un avion comme si c’\u00e9tait celui d’une fille, ce qui, terriblement, \u00e9tait le cas.<\/p>\n","protected":false},"author":1,"featured_media":8619,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[839],"class_list":["post-8623","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-orchestral-manoeuvres-in-the-dark"],"yoast_head":"\nEnola Gay - Orchestral Manoeuvres in the Dark - 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\/enola-gay-orchestral-manoeuvres-in-the-dark-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Enola Gay - 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