{"id":9649,"date":"2026-09-19T23:36:38","date_gmt":"2026-09-19T21:36:38","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/metallica-speed-with-a-scar-2\/"},"modified":"2026-09-19T23:36:38","modified_gmt":"2026-09-19T21:36:38","slug":"metallica-speed-with-a-scar-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/metallica-speed-with-a-scar-2\/","title":{"rendered":"Metallica – La vitesse et la cicatrice"},"content":{"rendered":"

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Quatre cavaliers et une route en Su\u00e8de<\/h3>\n

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Un bus sur une route su\u00e9doise, le 27 septembre 1986, avant l’aube. Le groupe s’appelle Metallica, la tourn\u00e9e s’appelle Damage Inc., et le bassiste, Cliff Burton, est tu\u00e9 quand le v\u00e9hicule d\u00e9rape et se retourne pr\u00e8s de Ljungby. Il a vingt-quatre ans. L’album qu’ils jouent chaque soir, Master of Puppets<\/em>, a six mois et d\u00e9j\u00e0 le statut d’un rep\u00e8re, et il a d\u00e9sormais une tombe \u00e0 c\u00f4t\u00e9. James Hetfield, Lars Ulrich, Kirk Hammett, et le c\u00f4t\u00e9 vide de la sc\u00e8ne devront d\u00e9cider si la vitesse peut continuer apr\u00e8s une cicatrice. Ils d\u00e9cident que oui, ce qui n’est pas la m\u00eame chose que d\u00e9cider que ce sera sans douleur.<\/p>\n

La cicatrice a une pr\u00e9histoire d’acc\u00e9l\u00e9ration. Ulrich, batteur danois \u00e0 Los Angeles, passe une annonce. Hetfield r\u00e9pond. Dave Mustaine joue de la guitare avec une violence qui deviendra plus tard Megadeth apr\u00e8s son renvoi en avril 1983. Ron McGovney tient la basse jusqu’\u00e0 ce que Burton, de Trauma, accepte de rejoindre \u00e0 condition que le groupe monte vers sa Bay Area. Hammett, d’Exodus, prend la chaise de lead. Kill ‘Em All<\/em>, 1983, chez Megaforce, est le premier \u00e9nonc\u00e9 complet : Whiplash<\/em>, Seek & Destroy<\/em>, un premier album qui traite la v\u00e9locit\u00e9 comme une \u00e9thique. Ils l’enregistrent \u00e0 Rochester, New York, assez jeunes pour croire qu’un riff peut \u00eatre une personnalit\u00e9. Ils n’ont pas tort.<\/p>\n

Ride the Lightning<\/em> en 1984, enregistr\u00e9 \u00e0 Sweet Silence, Copenhague, avec Flemming Rasmussen, ajoute l’ombre. Fade to Black<\/em> est une ballade qui ne s’excuse pas aupr\u00e8s du pit. For Whom the Bell Tolls<\/em>, Creeping Death<\/em>. La basse de Burton n’est pas un faire-valoir. Elle a sa propre m\u00e9lodie, satur\u00e9e, haute dans le mix, un instrument lead qui se trouve avoir quatre cordes. Master of Puppets<\/em>, 1986, m\u00eame studio, m\u00eame producteur, est le sommet de cette formation. Le titre est une suite. Battery<\/em> ouvre comme une porte souffl\u00e9e vers l’int\u00e9rieur. Orion<\/em> est l’instrumental de Burton, le morceau que les endeuill\u00e9s joueront parce qu’il a \u00e9crit la partie qui sonne comme une marche. Ils sont encore un groupe de thrash. Ils ne sont plus seulement un groupe de thrash.<\/p>\n

Jason Newsted arrive apr\u00e8s une audition qui, dira-t-il plus tard, ressemble \u00e0 entrer dans une famille qui vient de perdre un fr\u00e8re. …And Justice for All<\/em> en 1988 est long, sec, progressif, et fameusement mince en basse, une d\u00e9cision de mix que les fans poursuivent encore. One<\/em>, avec son pont de mitrailleuse et sa vid\u00e9o de soldat bris\u00e9, gagne un Grammy et met le groupe \u00e0 la t\u00e9l\u00e9vision qui n’avait pas pr\u00e9vu de les recevoir. Puis Bob Rock, et l’album noir, Metallica<\/em>, 1991, enregistr\u00e9 \u00e0 One on One, Los Angeles. Enter Sandman<\/em>, Sad but True<\/em>, The Unforgiven<\/em>, Nothing Else Matters<\/em>. Les chansons sont plus lentes, plus larges, impossibles \u00e0 \u00e9viter. Les puristes appellent \u00e7a une reddition. Les chiffres appellent \u00e7a une seconde langue apprise sans oublier la premi\u00e8re. Seize millions d’exemplaires en Am\u00e9rique n’est pas un \u00e9v\u00e9nement discret.<\/p>\n

Les ann\u00e9es quatre-vingt-dix testent l’id\u00e9e d’une bande. Load<\/em> et Reload<\/em> coupent les cheveux et gardent les riffs, et le public se divise. Newsted part en 2001. St. Anger<\/em> en 2003 est le document d’un groupe en th\u00e9rapie, caisse claire comprise, sorti au moment o\u00f9 Robert Trujillo arrive du groupe d’Ozzy et de Suicidal Tendencies pour compl\u00e9ter les quatre. Le film Some Kind of Monster<\/em> montre les pi\u00e8ces laides derri\u00e8re le volume. Survivre, ici, n’est pas un slogan. C’est une s\u00e9rie de sessions qu’ils n’ont pas quitt\u00e9es. Death Magnetic<\/em> en 2008, avec Rick Rubin, revient vers les formes longues. Hardwired… to Self-Destruct<\/em> en 2016 et 72 Seasons<\/em> en 2023 prouvent que l’atelier est encore ouvert. La guitare rythmique de Hetfield reste le moteur. La caisse d’Ulrich reste une dispute. Hammett joue encore comme un homme engag\u00e9 pour apporter de la m\u00e9lodie dans un feu.<\/p>\n

Le culte de Metallica, devenu un stade sans d\u00e9missionner du culte, est un culte de l’engagement. Ils r\u00e9p\u00e8tent. Ils se battent. Ils sortent les bagarres en film et continuent de jouer. L’absence de Burton n’est pas une note de bas de biographie. Elle est audible chaque fois qu’Orion<\/em> commence et que la basse doit \u00eatre jou\u00e9e par quelqu’un qui sait qu’il est un invit\u00e9 dans cette chanson. Newsted le savait. Trujillo le sait. Le respect fait partie du son.<\/p>\n

La vitesse et la cicatrice. C’est toute l’histoire du d\u00e9but, et l’histoire d’apr\u00e8s ne l’annule pas. De tr\u00e8s jeunes hommes ont d\u00e9cid\u00e9 que le metal pouvait \u00eatre \u00e0 la fois plus rapide et plus compos\u00e9, puis ont perdu le membre qui faisait chanter la basse, puis sont devenus, malcommod\u00e9ment, \u00e9normes. Les riffs ne se sont pas rapetiss\u00e9s pour tenir dans la gloire. Ils sont devenus plus forts. La route en Su\u00e8de est encore dans la musique. La d\u00e9cision de faire avancer le bus aussi.<\/p>\n

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