{"id":8847,"date":"2026-06-06T16:00:00","date_gmt":"2026-06-06T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/born-slippy-nuxx-underworld-2\/"},"modified":"2026-09-19T23:59:35","modified_gmt":"2026-09-19T21:59:35","slug":"born-slippy-nuxx-underworld-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/born-slippy-nuxx-underworld-2\/","title":{"rendered":"Born Slippy .NUXX – Underworld"},"content":{"rendered":"

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Un carnet venu du Ship, et un l\u00e9vrier qui avait gagn\u00e9<\/h3>\n

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Le kick est un fait avant que les mots le soient. Une ligne de synth\u00e9 se r\u00e9p\u00e8te jusqu’\u00e0 ce que la r\u00e9p\u00e9tition devienne un climat, et Karl Hyde se met \u00e0 parler en morceaux, boy, lager, une blonde, une station, comme si la nuit avait \u00e9t\u00e9 coup\u00e9e au flash et que les flashes \u00e9taient tout ce qu’il avait gard\u00e9. Born Slippy .NUXX<\/em> ne construit pas vers un refrain tant qu’elle refuse de desso\u00fbler. La voix a \u00e9t\u00e9 une prise. Quand il perdait le fil il r\u00e9p\u00e9tait la ligne, et c’est pourquoi lager arrive quatre fois, non comme un toast mais comme un homme qui rate la marche. Le rythme de Rick Smith est \u00e9norme et sans g\u00eane. La g\u00eane, a dit Hyde, est venue plus tard, quand les canettes se sont lev\u00e9es.<\/p>\n

Les mots ont \u00e9t\u00e9 \u00e9crits en une nuit \u00e0 Soho. Il a bu, a fini au Ship sur Wardour Street, a march\u00e9 avec un carnet et un appareil, New York<\/em> de Lou Reed et Sam Shepard en t\u00eate, essayant de voir comme un ivrogne voit, en fragments. Smith avait un rythme. Hyde a chant\u00e9. Le titre \u00e9tait un l\u00e9vrier sur lequel ils avaient gagn\u00e9 de l’argent. La version .NUXX, celle que le monde veut dire, a commenc\u00e9 comme une face B plus dure en 1995 sur Junior Boy’s Own, faite dans la vie de studio du duo \u00e0 Romford, ni comme un hymne ni comme une blague. Danny Boyle l’a mise dans Trainspotting<\/em> en 1996, sur une nuit qui sonnait, pour certaines oreilles, comme une permission. Le single est mont\u00e9 num\u00e9ro deux en Grande-Bretagne en juillet. Hyde a \u00e9t\u00e9 horrifi\u00e9 la premi\u00e8re fois qu’une salle a lev\u00e9 des canettes de lager, parce qu’il \u00e9tait encore dedans la boisson que la chanson essayait de cartographier. C’\u00e9tait un appel au secours, a-t-il dit au Guardian en 2006. Ce n’\u00e9tait pas cens\u00e9 \u00eatre une chanson \u00e0 boire. Maintenant, a-t-il dit, \u00e7a ne le d\u00e9range plus.<\/p>\n

Le film a donn\u00e9 aux fragments une intrigue qu’ils n’avaient pas, puis l’intrigue s’est coll\u00e9e au kick. En concert, Underworld la joue comme un long syst\u00e8me m\u00e9t\u00e9o. La voix de carnet de Hyde, \u00e0 moiti\u00e9 parl\u00e9e, coupe l’architecture de Smith sans demander \u00e0 \u00eatre comprise ligne \u00e0 ligne. On peut crier le lager et manquer la femme accroupie dans un trou de m\u00e9tro \u00e0 Tottenham Court Road, le trajet qu’il a d\u00e9crit du Ship au dernier train. La carte est pr\u00e9cise. Le mauvais usage \u00e9tait g\u00e9n\u00e9ral. L’image de Boyle, Hyde l’a conc\u00e9d\u00e9, a remis une part de l’ironie, pour que la f\u00eate et la maladie s’entendent dans le m\u00eame bar.<\/p>\n

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\n

Toutes les paroles ont \u00e9t\u00e9 \u00e9crites cette nuit-l\u00e0. Un ivrogne voit le monde en fragments et je voulais recr\u00e9er \u00e7a. La voix a \u00e9t\u00e9 faite en une prise. Quand je perdais le fil, je r\u00e9p\u00e9tais la m\u00eame ligne. C’est pourquoi \u00e7a fait lager, lager, lager, lager. Ce n’\u00e9tait pas cens\u00e9 \u00eatre un hymne \u00e0 la bi\u00e8re. C’\u00e9tait un appel au secours.<\/p>\n<\/blockquote>\n

(Karl Hyde, The Guardian, 2006)<\/em><\/p>\n

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Ce que la taille cache, c’est le peu de composition, au vieux sens, qu’a demand\u00e9 la voix. Une nuit, une prise, un fil perdu, une r\u00e9p\u00e9tition. La musique est l’inverse : patiente, immense, b\u00e2tie pour tenir un homme qui ne peut pas tenir une phrase. Ce d\u00e9calage est le disque. Un texte net aurait fait un single net.<\/p>\n

Ce qui reste, c’est le nom du l\u00e9vrier sur un cri. Born Slippy .NUXX<\/em> remplit encore des salles qui ne connaissent pas Wardour Street. Les canettes se l\u00e8vent encore. Hyde, sobre dans les ann\u00e9es d’apr\u00e8s, les laisse.<\/p>\n

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