{"id":8841,"date":"2026-05-09T16:00:00","date_gmt":"2026-05-09T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/windowlicker-aphex-twin-2\/"},"modified":"2026-09-19T23:59:35","modified_gmt":"2026-09-19T21:59:35","slug":"windowlicker-aphex-twin-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/windowlicker-aphex-twin-2\/","title":{"rendered":"Windowlicker – Aphex Twin"},"content":{"rendered":"

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Un visage pop tir\u00e9 jusqu’\u00e0 ce que les traits ne tiennent plus<\/h3>\n

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Le breakbeat est ind\u00e9cemment serr\u00e9, un ch\u00e2ssis hip-hop avec les boulons apparents, puis la m\u00e9lodie bave, trop sucr\u00e9e, trop proche, un air qui pourrait \u00eatre une chanson d’amour si la chanson d’amour avait commenc\u00e9 \u00e0 fondre. Richard D. James, en Aphex Twin, passe les premi\u00e8res minutes de Windowlicker<\/em> \u00e0 vous laisser croire que vous avez mis un single lisse. La batterie est le lisse. L’harmonie est la blague, sauf que ce n’est pas seulement une blague. C’est magnifique d’une fa\u00e7on qui rend le magnifique inconfortable, ce qui est son climat particulier. Des voix, pitch\u00e9es et coup\u00e9es, bavardent aux bords. Le morceau est long pour une chanson pop et court pour le malaise qu’il renouvelle.<\/p>\n

Warp l’a sorti en mars 1999, James le produisant lui-m\u00eame, un single avec Formula<\/em> au dos, dans la saison o\u00f9 son visage \u00e9tait devenu une marque qu’il pouvait d\u00e9former. Le titre est de l’argot britannique, laid expr\u00e8s, un mot pour quelqu’un qui fixe et l\u00e8che une vitre. Il l’a choisi comme il choisissait beaucoup de titres, pour le frottement. Le clip de Chris Cunningham a pris le frottement et en a fait une publicit\u00e9 de six minutes venue d’une pire cha\u00eene : une limousine, des femmes, une plage, puis les visages, le sourire de James multipli\u00e9 jusqu’\u00e0 ce que la beaut\u00e9 et le sourire soient la m\u00eame proth\u00e8se. Cunningham a d\u00e9crit le travail comme pousser le langage du clip hip-hop jusqu’\u00e0 ce qu’il devienne horreur et publicit\u00e9 \u00e0 la fois. Le disque n’avait pas besoin des images pour \u00eatre troublant. Elles ont aid\u00e9. Ensemble ils ont fait un tube qui avait le go\u00fbt d’un d\u00e9fi que vous aviez d\u00e9j\u00e0 accept\u00e9 en appuyant sur play.<\/p>\n

\u00c0 la radio l’\u00e9dit a essay\u00e9 de civiliser un morceau qui parle de l’\u00e9chec de civiliser. Dans les clubs le break suffisait, et les gens dansaient la part lisse pendant que la fonte se passait au-dessus de leurs t\u00eates. James n’a jamais \u00e9t\u00e9 un explicateur fiable. Il a dit, dans les ann\u00e9es autour du single, qu’il aimait faire des choses qui sonnaient accessibles et qui ensuite ne l’\u00e9taient pas, une forme hip-hop avec le mauvais fant\u00f4me dedans. Le fant\u00f4me est la m\u00e9lodie. On peut la fredonner. La fredonner ressemble \u00e0 accepter quelque chose qu’on n’a pas lu. C’est le dessein, et c’est pourquoi la chanson a surv\u00e9cu au choc du clip. Le clip a vieilli en outrage connu. La batterie n’a pas vieilli.<\/p>\n

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\n

\u00c7a n’a rien \u00e0 voir avec Richard. C’est enti\u00e8rement moi. La participation de Richard a consist\u00e9 \u00e0 s’asseoir sur la plage en face du tournage et \u00e0 jouer aux \u00e9checs.<\/p>\n<\/blockquote>\n

(Chris Cunningham, NME, 1999)<\/em><\/p>\n

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Ce que le funk cache, c’est le peu de confort que le funk offre. Un window licker, dans l’argot, est une cruaut\u00e9. Mettre cette cruaut\u00e9 sur un beau break n’est pas une chanson de protestation et pas une farce qui se termine. C’est l’habitude de James de rendre l’auditeur complice, la m\u00eame habitude que le sourire du clip, dont on rit puis dont on remarque qu’on le regarde encore. Le succ\u00e8s du single, une vraie pr\u00e9sence dans les classements pour un disque aussi tordu, a prouv\u00e9 que la complicit\u00e9 \u00e9tait populaire. Il n’a pas adouci les disques suivants pour la poursuivre. La poursuite avait d\u00e9j\u00e0 eu lieu, dans les premi\u00e8res mesures, quand vous croyiez savoir quel genre de chanson c’\u00e9tait.<\/p>\n

Ce qui reste, c’est la fonte. Windowlicker<\/em> commence encore comme un cadeau et continue comme un test. L’argot du titre n’est pas devenu plus gentil. Le break n’est pas devenu moins physique.<\/p>\n

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Le breakbeat est ind\u00e9cemment serr\u00e9, un ch\u00e2ssis hip-hop avec les boulons apparents, puis la m\u00e9lodie bave, trop sucr\u00e9e, trop proche, un air qui pourrait \u00eatre une chanson d’amour si la chanson d’amour avait commenc\u00e9 \u00e0 fondre.<\/p>\n","protected":false},"author":1,"featured_media":8837,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[867],"class_list":["post-8841","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-aphex-twin"],"yoast_head":"\nWindowlicker - Aphex Twin - 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\/windowlicker-aphex-twin-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Windowlicker - 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