{"id":8701,"date":"2026-06-09T09:00:00","date_gmt":"2026-06-09T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/criminal-fiona-apple-2\/"},"modified":"2026-09-19T23:59:27","modified_gmt":"2026-09-19T21:59:27","slug":"criminal-fiona-apple-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/criminal-fiona-apple-2\/","title":{"rendered":"Criminal – Fiona Apple"},"content":{"rendered":"

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Un tube \u00e9crit avant qu’on d\u00e9barrasse la table<\/h3>\n

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Le piano arrive d\u00e9j\u00e0 coupable, une figure grave qui n’annonce pas tant qu’elle n’avoue. Fiona Apple chante tout pr\u00e8s du micro, s\u00e8che comme une allumette, et porte une accusation qu’elle refuse d’adoucir pour la pi\u00e8ce. Criminal<\/em> ne drague pas. Le morceau dresse une liste. Le refrain demande un avocat, et le groove, patient, un peu aigre, garde les murs assez proches pour que personne ne sorte avant la derni\u00e8re mesure. On entend le souffle entre les phrases, l’air qu’un aveu laisse apr\u00e8s la pire phrase.<\/p>\n

Elle l’a \u00e9crit sous la pression, et elle n’a jamais fait semblant du contraire. En 1996, pendant les s\u00e9ances de son premier album Tidal<\/em> avec le producteur Andrew Slater, un ami la pique parce qu’elle n’\u00e9crit pas. Apple r\u00e9pond en s’\u00e9clipsant \u00e0 l’heure du d\u00e9jeuner et en revenant avec une chanson. Quarante-cinq minutes, dira-t-elle plus tard, parce qu’il lui fallait un tube. Slater construit le morceau autour de ce piano et de sa voix, et laisse l’arrangement rester proche plut\u00f4t que cin\u00e9matographique : une basse qui marche au lieu de parader, une batterie qui refuse de presser la culpabilit\u00e9. Tidal<\/em> para\u00eet cette ann\u00e9e-l\u00e0, elle a dix-huit ans, et Criminal<\/em> attend 1997 pour devenir le single que la radio ne sait pas classer.<\/p>\n

Le clip, sign\u00e9 Mark Romanek, rend l’argument visible, puis en fait un scandale. Apple, en sous-v\u00eatements parmi des mannequins dans une maison ravag\u00e9e, a l’air \u00e0 la fois ma\u00eetresse du jeu et coinc\u00e9e. Elle confie \u00e0 Interview<\/em> que le tournage \u00e9tait une mission personnelle, une fa\u00e7on de se tenir devant un miroir qu’elle \u00e9vitait, et que le coup d’ego d’\u00eatre regard\u00e9e est exactement ce que la chanson d\u00e9crit. Sur sc\u00e8ne, le morceau reste plus petit que sa r\u00e9putation. Elle le chante comme si l’audience n’\u00e9tait pas lev\u00e9e, sans jamais transformer le refrain en clin d’\u0153il.<\/p>\n

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J’ai \u00e9crit Criminal en quarante-cinq minutes, pendant que tout le monde \u00e9tait parti d\u00e9jeuner, parce qu’il me fallait un tube. Je peux me forcer \u00e0 faire le travail, mais seulement si quelqu’un est juste derri\u00e8re moi.<\/p>\n<\/blockquote>\n

(Fiona Apple, Pitchfork, 2012)<\/em><\/p>\n

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Le retour de b\u00e2ton arrive \u00e0 l’heure. La critique entend de l’exploitation, ou une adolescente pri\u00e9e de jouer sa propre inculpation. Apple, elle, entend une page de journal qui s’est \u00e9chapp\u00e9e. Le discours fameux des MTV Video Music Awards, celui qui dit \u00e0 une industrie d’aller avec soi-m\u00eame, se pose \u00e0 c\u00f4t\u00e9 du morceau et fait chercher un manifeste. On trouve plus \u00e9troit, et plus dur : une jeune femme qui nomme le tour qu’elle sait d\u00e9j\u00e0 faire, et qui d\u00e9teste que \u00e7a marche. Le classement Modern Rock le hisse dans le top cinq. Le Hot 100 s’arr\u00eate \u00e0 vingt et un. Le malaise dure plus longtemps que les deux chiffres.<\/p>\n

Ce qui reste, c’est la figure de piano, toujours incapable de se r\u00e9soudre en innocence. Les albums suivants deviennent plus \u00e9tranges, plus longs, plus blind\u00e9s, mais Criminal<\/em> garde la temp\u00e9rature du d\u00e9but : une pi\u00e8ce, une heure de d\u00e9jeuner, un d\u00e9fi relev\u00e9 par d\u00e9pit. Le morceau ne demande pas le pardon. Il demande qu’on le croie, requ\u00eate plus froide, et celle que le disque n’a cess\u00e9 de formuler depuis qu’on a d\u00e9barrass\u00e9 la table.<\/p>\n

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