{"id":9588,"date":"2026-04-22T10:00:00","date_gmt":"2026-04-22T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/illmatic-nas-2\/"},"modified":"2026-04-22T10:00:00","modified_gmt":"2026-04-22T08:00:00","slug":"illmatic-nas-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/illmatic-nas-2\/","title":{"rendered":"Illmatic – Nas"},"content":{"rendered":"

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Dix morceaux vus d’une fen\u00eatre de Queensbridge<\/h3>\n

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Au printemps 1994, un jeune homme de vingt ans des Queensbridge Houses sort un premier album si court qu’il ressemble \u00e0 un refus de vous g\u00e2cher l’apr\u00e8s-midi. Illmatic<\/em> tient en dix morceaux et un peu moins de quarante minutes. Pas de sketch \u00e9tir\u00e9 pour remplir un CD. Pas d’invit\u00e9 venu emprunter une r\u00e9putation dont le disque n’a pas besoin, sauf ceux qui habitent d\u00e9j\u00e0 l’histoire : AZ sur Life’s a Bitch<\/em>, et le p\u00e8re de Nas, Olu Dara, au cornet, comme si le nom de famille \u00e9tait aussi un instrument. La pochette pose une photo d’enfance contre les projets. Le gar\u00e7on regarde d\u00e9j\u00e0 plus loin que le cadre. Sorti le 19 avril 1994, l’album entre dans le Billboard 200 \u00e0 la douzi\u00e8me place, avec des ventes de premi\u00e8re semaine qui d\u00e9\u00e7oivent une major et satisfont tous ceux qui savent compter les mesures.<\/p>\n

Nasir Jones avait commenc\u00e9 les rimes des ann\u00e9es plus t\u00f4t, adolescent \u00e9crivant ce que la fen\u00eatre lui donnait. Columbia le signe avec l’aide de MC Serch. Les s\u00e9ances, en 1992 et 1993, passent par Chung King, D&D, Battery, Unique : des pi\u00e8ces new-yorkaises, des ing\u00e9nieurs new-yorkais, et un banc de producteurs qui ne sonnent pas comme un comit\u00e9. DJ Premier, Large Professor, Pete Rock, Q-Tip, L.E.S. Chaque beat est un quartier, pas un mod\u00e8le. Les caisses claires de Premier ont l’air d’un perron. La boucle de Pete Rock sur The World Is Yours<\/em> ouvre une fen\u00eatre de la taille d’un film. One Love<\/em> de Q-Tip est une lettre, assez calme pour qu’on se penche. Large Professor ferme la porte avec It Ain’t Hard to Tell<\/em>, construit en partie sur Human Nature<\/em> de Michael Jackson, un sample qui ne devrait pas marcher et qui marche, parce que la rime traite l’\u00e9l\u00e9gance comme une chose que les projets ont aussi le droit d’avoir.<\/p>\n

N.Y. State of Mind<\/em> est la th\u00e8se : pas une visite de New York, un bulletin m\u00e9t\u00e9o depuis un seul de ses coins. Memory Lane<\/em> et Represent<\/em> restent dans le bloc. Halftime<\/em> est la fanfaronnade, m\u00e9rit\u00e9e parce que les couplets ont d\u00e9j\u00e0 montr\u00e9 le travail. One Love<\/em> \u00e9crit \u00e0 des amis en prison sans en faire des symboles. La langue est une rime interne empil\u00e9e jusqu’\u00e0 ce qu’une ligne ait deux adresses. On peut suivre l’intrigue ou suivre le son. Les deux routes finissent sur le m\u00eame banc.<\/p>\n

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\n

When I narrowed it down to what would be album material, it probably started at 16 years old. I got a record deal at 18 and then finished the record at 20.<\/p>\n<\/blockquote>\n

(Nas, entretien avec Roger Catlin, Songfacts)<\/em><\/p>\n

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The Source donne \u00e0 l’album cinq microphones, la note la plus haute du magazine, dans son num\u00e9ro d’avril 1994. Cette note devient une l\u00e9gende, et les l\u00e9gendes sont un cadeau m\u00eal\u00e9 : elles peuvent figer un premier disque en monument et oser l’artiste \u00e0 passer le reste de sa vie \u00e0 s’excuser d’avoir grandi. Nas a grandi. Les disques d’apr\u00e8s discutent, tr\u00e9buchent, brillent. Illmatic<\/em> n’a pas \u00e0 s’excuser d’\u00eatre la fen\u00eatre plut\u00f4t que tout l’immeuble. Sa force est la concentration. Un livre court peut \u00eatre plus lourd qu’un long si chaque page se tenait dehors au moment o\u00f9 elle a \u00e9t\u00e9 \u00e9crite.<\/p>\n

Jouez-le de The Genesis<\/em> jusqu’\u00e0 la derni\u00e8re rime, sans t\u00e9l\u00e9phone. Quarante minutes, c’est un trajet, un d\u00e9jeuner, un tour de p\u00e2t\u00e9 de maisons o\u00f9 vous n’habitez pas. Le but n’a jamais \u00e9t\u00e9 que chaque auditeur fasse semblant de venir de Queensbridge. Le but \u00e9tait qu’un lieu puisse \u00eatre d\u00e9crit avec assez de pr\u00e9cision pour que le semblant devienne inutile. On entend la cage d’escalier. On entend l’ambition. On entend un jeune homme qui avait assez lu, et assez vu, pour conna\u00eetre la diff\u00e9rence.<\/p>\n

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