{"id":8829,"date":"2026-02-12T11:00:00","date_gmt":"2026-02-12T10:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/midnight-in-a-perfect-world-dj-shadow-2\/"},"modified":"2026-09-19T23:59:34","modified_gmt":"2026-09-19T21:59:34","slug":"midnight-in-a-perfect-world-dj-shadow-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/midnight-in-a-perfect-world-dj-shadow-2\/","title":{"rendered":"Midnight in a Perfect World – DJ Shadow"},"content":{"rendered":"

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Un piano de 1969, retourn\u00e9 jusqu’\u00e0 ce qu’il ne puisse plus refaire le tour<\/h3>\n

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Le piano est m\u00e9lancolique et d\u00e9j\u00e0 vieux, une figure tir\u00e9e de The Human Abstract<\/em> de David Axelrod, en 1969, pos\u00e9e dans une pi\u00e8ce qui n’appartient pas \u00e0 1969. La batterie arrive tard, douce, hip-hop dans la poche et nulle part pr\u00e8s d’une f\u00eate. Une voix dit midnight comme si elle nommait une station. Midnight in a Perfect World<\/em> ne d\u00e9crit pas une utopie. Elle d\u00e9crit l’heure o\u00f9 la ville a fini de se produire et o\u00f9 les samples, empil\u00e9s, commencent \u00e0 faire climat. Josh Davis, en tant que DJ Shadow, ne rappe pas. Il monte.<\/p>\n

Il a trouv\u00e9 le sample principal vers 1992, au d\u00e9but de sa vie avec une MPC, et l’a trouv\u00e9 une petite boucle charmante \u00e0 une \u00e9poque o\u00f9 boucler suffisait encore. Le beat, il l’a retourn\u00e9 d’une fa\u00e7on qu’il a dit ne plus pouvoir refaire. Il ne se souvient pas du geste. Plus tard il a pos\u00e9 la boucle sur ce beat, et la chanson est n\u00e9e. Endtroducing…..<\/em> est sorti en 1996 sur Mo’ Wax, b\u00e2ti de disques, pas de groupe, les cr\u00e9dits dans le livret parce qu’il voulait la lign\u00e9e visible. James Lavelle a demand\u00e9 les huit samples les plus susceptibles de causer des ennuis. Le piano d’Axelrod \u00e9tait sur la liste, avec d’autres que Shadow croyait mordants. Il a propos\u00e9 d’autres noms. Lavelle a dit qu’ils avaient les mains pleines. L’album a \u00e9t\u00e9 mont\u00e9 dans la baie de San Francisco, dans la m\u00e9thode \u00e0 l’\u00e9troit qui faisait un disque entier avec d’autres disques, et il est entr\u00e9 dans le Guinness comme le premier album compos\u00e9 enti\u00e8rement de samples. La vantardise compte moins que le piano.<\/p>\n

Il voulait le morceau comme une porte chaude, l’une des trois choses les plus reconnaissables qu’il ait faites, une chanson que les gens conna\u00eetraient tout de suite et qui, esp\u00e9rait-il, ne serait pas us\u00e9e jusqu’\u00e0 la corde. Le clip, il l’a d\u00e9crit en 1997 \u00e0 un journal de la baie comme rien d’inutile : des boucles de temps ordinaire, la chasse aux disques, la culture qui nourrissait le sampler. Sur une piste le morceau est trop lent pour dominer et trop complet pour qu’on parle par-dessus. Il est devenu le centre nocturne d’un disque qu’on a appel\u00e9 trip-hop, un mot qu’il a trait\u00e9 comme un accident de classement. Le classement est rest\u00e9. Le piano n’en avait pas besoin.<\/p>\n

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J’avais le beat, mais je l’avais retourn\u00e9 d’une fa\u00e7on que je ne pourrais plus jamais refaire. Je ne me souviens m\u00eame pas comment j’ai fait. \u00c0 un moment j’ai d\u00e9cid\u00e9 d’appliquer cette boucle \u00e0 ce beat, et c’est ainsi que Midnight est n\u00e9.<\/p>\n<\/blockquote>\n

(DJ Shadow, The Quietus)<\/em><\/p>\n

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Ce que la chaleur cache, c’est le doute qu’il a dit courir sous les s\u00e9ances. Un monde parfait, dans le titre, n’est pas une affirmation. C’est une question que la musique refuse de trancher, comme d’autres titres de l’album demandent \u00e0 quoi ressemble votre \u00e2me puis refusent le sch\u00e9ma. Axelrod, a-t-il dit, \u00e9tait un loup en habits d’easy listening. Shadow a gard\u00e9 les habits et laiss\u00e9 le loup marcher. On entend les deux si l’on reste apr\u00e8s le joli. La plupart restent. C’\u00e9tait la note amicale, et elle a march\u00e9.<\/p>\n

Ce qui reste, c’est le retournement qu’il ne peut pas reproduire. Midnight in a Perfect World<\/em> est une chanson faite de d\u00e9cisions qui ne seront pas r\u00e9p\u00e9t\u00e9es, \u00e9trange perfection pour un homme qui travaille en bouclant. L’heure du titre n’arr\u00eate pas d’arriver. Le piano, d’un disque qu’il passait \u00e0 ses amis chasseurs, sonne encore comme s’il avait attendu cette nuit plus lente.<\/p>\n

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Le piano est m\u00e9lancolique et d\u00e9j\u00e0 vieux, une figure tir\u00e9e de The Human Abstract de David Axelrod, en 1969, pos\u00e9e dans une pi\u00e8ce qui n’appartient pas \u00e0 1969.<\/p>\n","protected":false},"author":1,"featured_media":8823,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[865],"class_list":["post-8829","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-dj-shadow"],"yoast_head":"\nMidnight in a Perfect World - DJ Shadow - 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\/midnight-in-a-perfect-world-dj-shadow-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Midnight in a Perfect World - 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