{"id":8815,"date":"2026-01-13T09:00:00","date_gmt":"2026-01-13T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/ooh-la-la-goldfrapp-2\/"},"modified":"2026-09-19T23:59:33","modified_gmt":"2026-09-19T21:59:33","slug":"ooh-la-la-goldfrapp-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/ooh-la-la-goldfrapp-2\/","title":{"rendered":"Ooh La La – Goldfrapp"},"content":{"rendered":"

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

Un refrain emprunt\u00e9 \u00e0 un voyage en France, et un talon cass\u00e9<\/h3>\n

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Le pi\u00e9tinement est glam, les paillettes encore dessus. Une guitare, rare chez eux alors, donne un coup de botte, et la voix d’Alison Goldfrapp s’empile jusqu’\u00e0 \u00eatre \u00e0 la fois une femme et un petit ch\u0153ur de machines. Ooh La La<\/em> ne s\u00e9duit pas dans un murmure. Elle annonce. Le refrain est deux mots qui ne veulent presque rien et, dans sa bouche, veulent le d\u00e9sir avec pr\u00e9cision. Sous les paillettes le texte est boudeur. Elle n’offre pas une romance. Elle tarif un attrait, visuel, un peu cruel, un talon qui pourrait c\u00e9der. Le vocodeur lui r\u00e9pond avec une politesse de robot qui rend la voix humaine plus d\u00e9lib\u00e9r\u00e9e, pas moins.<\/p>\n

Elle et Will Gregory l’ont \u00e9crit et produit pour Supernature<\/em>, paru en 2005, dans une petite maison lou\u00e9e \u00e0 la campagne pr\u00e8s de Bath, le m\u00eame dispositif simple qui emp\u00eachait l’album d’enfler en spectacle de studio. Goldfrapp a dit au Guardian que le refrain coin\u00e7ait. Ils revenaient de France. Ooh la la \u00e9tait ce qu’elle avait, et ils se sont demand\u00e9 si \u00e7a suffisait, puis l’ont gard\u00e9, superposant la voix et ajoutant les voix synth\u00e9tiques parce que le c\u00f4t\u00e9 robot allait bien \u00e0 c\u00f4t\u00e9 du naturel. Les mots \u00e9taient personnels, une relation, ce qu’elle ressentait. Un talon cass\u00e9 dans le break venait d’un film des ann\u00e9es cinquante, une femme en jupe crayon boitant sur une route. Baudelaire, un livre qui tra\u00eenait, est entr\u00e9 dans le texte aussi. Adrian Utley a jou\u00e9 de la guitare. Le single est sorti en ao\u00fbt et a atteint le top cinq britannique, un hommage sale \u00e0 Marc Bolan qui n’avait pas besoin d’expliquer l’hommage.<\/p>\n

\u00c0 la t\u00e9l\u00e9vision la chanson avait l’air d’une transmission venue d’une plan\u00e8te plus froide qui aurait appris les plateformes. Elle s’est souvenue d’un studio am\u00e9ricain glacial, Simon Cowell \u00e0 quelques pas dans un pull rose, les bras crois\u00e9s, lui disant que \u00e7a d\u00e9marrait en Am\u00e9rique, et de la peur qui a suivi. Le morceau a depuis \u00e9t\u00e9 demand\u00e9, souvent, pour des sc\u00e8nes de sexe. Elle trouve certaines demandes dr\u00f4les, et a dit non bien des fois. En concert, le pi\u00e9tinement fait le travail que le couplet esquisse seulement. On entend le talon. On entend le refus de n’\u00eatre que jolie. Supernature \u00e9tait le disque o\u00f9 le duo a cess\u00e9 de planer et a pos\u00e9 une botte.<\/p>\n

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\n

Je ne trouvais pas de paroles pour le refrain. Nous revenions de France, d’o\u00f9 le Ooh la la, mais nous nous demandions si \u00e7a suffisait. \u00c7a sonnait bien, alors nous l’avons gard\u00e9.<\/p>\n<\/blockquote>\n

(Alison Goldfrapp, The Guardian, 2026)<\/em><\/p>\n

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Ce que le cadre glam cache, c’est le peu que la narratrice est pr\u00eate \u00e0 promettre. Le haussement d’\u00e9paules fran\u00e7ais du titre n’est pas de l’affection. C’est une fa\u00e7on de vouloir quelqu’un sans signer le reste de la soir\u00e9e. Le don de Goldfrapp est de faire sonner ce haussement comme un refrain qu’on peut crier. Les synth\u00e9s de Gregory gardent les bords m\u00e9talliques pour que le cri ne tourne pas au cabotinage, ou n’y tourne que dans la mesure que Bolan aurait permise. La maison pr\u00e8s de Bath, petite et calme, est un dr\u00f4le de lieu de naissance pour une chanson aussi forte. Le calme est la raison pour laquelle le fort a pu \u00eatre accord\u00e9.<\/p>\n

Ce qui reste, c’est le hook de deux mots, encore suffisant. Ooh La La<\/em> n’a pas besoin d’un troisi\u00e8me mot. Il lui fallait un voyage, un film, un po\u00e8te sur la table, et une guitare qu’ils s’\u00e9taient surtout refus\u00e9e. Le talon reste cass\u00e9. Le refrain reste debout.<\/p>\n

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