{"id":8743,"date":"2026-06-16T09:00:00","date_gmt":"2026-06-16T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/black-hole-sun-soundgarden-2\/"},"modified":"2026-09-19T23:59:29","modified_gmt":"2026-09-19T21:59:29","slug":"black-hole-sun-soundgarden-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/black-hole-sun-soundgarden-2\/","title":{"rendered":"Black Hole Sun – Soundgarden"},"content":{"rendered":"

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Un titre mal entendu au journal, siffl\u00e9 dans un dictaphone<\/h3>\n

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La guitare ne riffe pas tant qu’elle ne s’affaisse, une phrase qui plie dans la chaleur et refuse de se tenir droite. La voix de Chris Cornell entre d\u00e9j\u00e0 haute, sans forcer, comme si la m\u00e9lodie avait \u00e9t\u00e9 r\u00e9p\u00e9t\u00e9e dans une voiture ferm\u00e9e. Black Hole Sun<\/em> est joli d’une fa\u00e7on qui rend le joli suspect. Le refrain demande \u00e0 un ciel d’emporter la pluie, ce qui est \u00e0 l’envers, et l’envers est tout le climat. Rien dans le texte n’offre une sc\u00e8ne qu’on pourrait dessiner. Le dessin se fait dans le ton : lourd, sucr\u00e9, et plus triste que la m\u00e9lodie ne veut l’avouer.<\/p>\n

Cornell l’a \u00e9crit dans sa t\u00eate sur la route du retour depuis le Bear Creek Studio de Woodinville, trente-cinq ou quarante minutes de Seattle, apr\u00e8s une s\u00e9ance qui n’avait rien \u00e0 voir avec cette chanson. Un pr\u00e9sentateur avait dit quelque chose qu’il avait mal entendu. Black hole sun, ou du moins c’est ce qu’il a cru, et l’erreur suffisait. Il a retourn\u00e9 l’arrangement dans le cr\u00e2ne pour ne pas le perdre, solo compris, est rentr\u00e9, et l’a siffl\u00e9 dans un dictaphone qu’il n’a jamais vraiment r\u00e9\u00e9cout\u00e9. Le lendemain il a mis des changements de tonalit\u00e9 sous le couplet et a laiss\u00e9 les mots venir en flux, depuis le sentiment du titre. Soundgarden l’a enregistr\u00e9 pour Superunknown<\/em> \u00e0 Bad Animals, \u00e0 Seattle, Michael Beinhorn \u00e0 la production, Brendan O’Brien au mix. L’album est arriv\u00e9 en mars 1994. Cornell a dit \u00e0 Kerrang! qu’il avait \u00e9crit la chanson en quinze minutes environ, et pass\u00e9 des semaines sur d’autres qui n’allaient nulle part.<\/p>\n

Le clip d’Howard Greenhalgh a fait fondre la banlieue, visages qui s’\u00e9tirent, pelouses trop vertes, un pique-nique qui tourne au r\u00eave. Il a gagn\u00e9 la machine de MTV et fix\u00e9 une image que le texte avait refus\u00e9 de fournir. En concert, le groupe le jouait comme un poids, la guitare de Kim Thayil retrouvant le bend chaque soir, Ben Shepherd et Matt Cameron emp\u00eachant le sol de s’envoler. Cornell a insist\u00e9, t\u00f4t, que les gens manquaient l’humeur. La m\u00e9lodie \u00e9tait jolie, donc ils entendaient de l’allant. Lui entendait triste. Il a dit \u00e0 Melody Maker en 1994 que personne ne semblait comprendre, plainte \u00e9trange pour une chanson devenue celle que tout le monde a eue, et pourtant juste.<\/p>\n

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Je l’ai \u00e9crit dans ma t\u00eate en rentrant en voiture du Bear Creek Studio, \u00e0 Woodinville. \u00c7a est parti de quelque chose qu’un pr\u00e9sentateur a dit \u00e0 la t\u00e9l\u00e9 et que j’ai mal entendu. J’ai entendu bla bla bla black hole sun bla bla bla.<\/p>\n<\/blockquote>\n

(Chris Cornell, Uncut, 2014)<\/em><\/p>\n

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Le Grammy qui a suivi, meilleure interpr\u00e9tation hard rock, a pos\u00e9 un troph\u00e9e sur une mauvaise \u00e9coute. Cornell n’a jamais revendiqu\u00e9 un programme pour les mots. Il a appel\u00e9 le texte ce qu’il avait fait de plus proche d’un jeu de mots pour eux-m\u00eames, un paysage de r\u00eave surr\u00e9aliste, pas une th\u00e8se. Cette honn\u00eatet\u00e9 explique pourquoi la chanson ne date pas en slogan. On ne peut pas marcher dessus. On peut seulement rester sous la bruine qu’elle refuse d’annuler, pendant que la guitare continue de fl\u00e9trir au m\u00eame endroit.<\/p>\n

Ce qui reste, c’est l’heure du dictaphone, quatre heures du matin, un titre qui n’a jamais \u00e9t\u00e9 dit. Black Hole Sun<\/em> est le son de garder une m\u00e9lodie vivante assez longtemps pour la faire entrer dans une maison. La maison, puis le monde, ont fourni les sens. La chanson n’avait fourni que le temps qu’il faisait.<\/p>\n

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