{"id":9637,"date":"2023-09-29T09:00:00","date_gmt":"2023-09-29T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/wu-tang-clan-nine-swords-one-chamber-2\/"},"modified":"2026-11-09T07:13:51","modified_gmt":"2026-11-09T06:13:51","slug":"wu-tang-clan-nine-swords-one-chamber-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/wu-tang-clan-nine-swords-one-chamber-2\/","title":{"rendered":"Wu-Tang Clan – Neuf \u00e9p\u00e9es, une chambre"},"content":{"rendered":"

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Enter the Wu-Tang : neuf MCs, un seul Staten Island<\/h3>\n

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En 1993, Robert Diggs – RZA – a produit un album \u00e0 Staten Island que personne en dehors du quartier n’avait vu venir. Enter the Wu-Tang (36 Chambers) a mis neuf MCs sur des beats construits \u00e0 partir d’\u00e9chantillons de soul hach\u00e9s, d’audio de films de kung-fu et d’une esth\u00e9tique de production d\u00e9lib\u00e9r\u00e9ment non polie. L’album s’est vendu sans passage radio ni soutien significatif de label ; il a circul\u00e9 par le bouche-\u00e0-oreille et sa propre intensit\u00e9.<\/p>\n

Les neuf membres \u00e9taient RZA, GZA, Ol’ Dirty Bastard, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God et Masta Killa. Chacun venait d’un angle diff\u00e9rent. Les couplets de GZA \u00e9taient compress\u00e9s et pr\u00e9cis\u00e9ment construits, une information maximale par syllabe. Ol’ Dirty Bastard \u00e9tait chaotique et impr\u00e9visible. Method Man avait l’instinct m\u00e9lodique et la port\u00e9e crossover. Ghostface apportait une directivit\u00e9 cin\u00e9matographique et \u00e9motionnelle qui mettait des objets et des textures sp\u00e9cifiques dans des sc\u00e8nes. Raekwon narrait depuis la rue avec la pr\u00e9cision de quelqu’un qui y avait \u00e9t\u00e9.<\/p>\n

La m\u00e9thode de production de RZA \u00e9tait construite sur des boucles de disques de soul et de R&B obscurs, hach\u00e9s \u00e0 des longueurs inhabituelles et superpos\u00e9s avec un r\u00e9glage de compression qui gardait tout l\u00e9g\u00e8rement distordu et proche. Les percussions \u00e9taient dures et s\u00e8ches. Des extraits de vieux films de kung-fu des Shaw Brothers – dialogues, effets sonores, indices musicaux – apparaissaient entre les titres et \u00e0 l’int\u00e9rieur. Ces extraits traversent l’album dans l’ordre des titres, pas comme un d\u00e9cor.<\/p>\n

Staten Island a toujours \u00e9t\u00e9 le quartier oubli\u00e9 : pas le Bronx o\u00f9 le hip hop a commenc\u00e9, pas les sc\u00e8nes \u00e9tablies de Brooklyn, pas la visibilit\u00e9 de Manhattan. Wu-Tang a fait de ce d\u00e9calage une part de l’image publique du groupe. Ils ont appel\u00e9 leur quartier Shaolin. Les noms d’arts martiaux ont donn\u00e9 au quartier une \u00e9tiquette que le grand public n’utilisait pas.<\/p>\n

RZA a n\u00e9goci\u00e9 des contrats solo pour chaque membre dans le milieu des ann\u00e9es 90, cr\u00e9ant un output cr\u00e9atif collectif qu’aucun disque unique ne pouvait contenir. Only Built 4 Cuban Linx… (1995) de Raekwon \u00e9tait un r\u00e9cit criminel enti\u00e8rement imagin\u00e9 avec une production de RZA plus sombre et plus cin\u00e9matographique. Liquid Swords (1995) de GZA \u00e9tait le disque le plus concentr\u00e9 lyriquement du catalogue. Ironman (1996) de Ghostface Killah apportait un poids \u00e9motionnel aux c\u00f4t\u00e9s des jeux de mots.<\/p>\n

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Wu-Tang Forever (1997) a rassembl\u00e9 le collectif sur deux disques. Moins concentr\u00e9 que le premier album et plus long, il prolongeait les m\u00eames histoires au lieu de les clore. Il s’est vendu \u00e0 la premi\u00e8re semaine en grande quantit\u00e9. \u00c0 ce moment-l\u00e0, l’approche Wu-Tang circulait d\u00e9j\u00e0 dans les m\u00e9thodes de production d’une jeune g\u00e9n\u00e9ration.<\/p>\n

L’influence en aval sur la production hip hop va de l’\u00e9vident au structurel. La m\u00e9thode de RZA, couper des samples dans de vieux disques au lieu de rejouer le morceau entier, a montr\u00e9 aux producteurs une autre fa\u00e7on d’utiliser une source. Le style cin\u00e9matographique de rue de Raekwon et Ghostface a influenc\u00e9 le mode narratif de Kendrick Lamar, Jay-Z et des dizaines d’autres.<\/p>\n

Commencez par Enter the Wu-Tang (36 Chambers) pour le premier album tel qu’il est sorti. Liquid Swords pour la concentration lyrique la plus ac\u00e9r\u00e9e. Only Built 4 Cuban Linx… pour l’histoire criminelle racont\u00e9e sur tout un album. Ironman pour le registre \u00e9motionnel de Ghostface. Compar\u00e9 au G-funk de Dr. Dre : plus brut, moins m\u00e9lodique, pas de soleil de Los Angeles. Compar\u00e9 au hip hop new-yorkais de l’\u00e8re Puffy : plus confrontationnel, moins commercial, moins int\u00e9ress\u00e9 par le crossover.<\/p>\n

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Le premier album du Wu-Tang Clan en 1993, Enter the Wu-Tang, a mis neuf MCs de Staten Island sur des beats que RZA a construits dans une seule pi\u00e8ce.<\/p>\n","protected":false},"author":1,"featured_media":9633,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[287,289],"tags":[478,1122],"class_list":["post-9637","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-hiphop-rap-fr","tag-wu-tang-clan-fr","post_format-post-format-video"],"yoast_head":"\nWu-Tang Clan - Neuf \u00e9p\u00e9es, une chambre - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Le premier album du Wu-Tang Clan en 1993, Enter the Wu-Tang, a mis neuf MCs de Staten Island sur des beats que RZA a construits dans une seule pi\u00e8ce.\" \/>\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\/chroniques\/groupes\/wu-tang-clan-nine-swords-one-chamber-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Wu-Tang Clan - 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