{"id":9823,"date":"2026-07-08T10:00:00","date_gmt":"2026-07-08T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/nevermind-nirvana-2\/"},"modified":"2026-07-08T10:00:00","modified_gmt":"2026-07-08T08:00:00","slug":"nevermind-nirvana-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/nevermind-nirvana-2\/","title":{"rendered":"Nevermind – Nirvana"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Une chanson pop qui a d\u00e9plac\u00e9 les meubles<\/h3>\n

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En septembre 1991, un trio d’Aberdeen met un b\u00e9b\u00e9 et un billet d’un dollar sur la pochette et, dedans, un ensemble de chansons qui sonnent comme une pi\u00e8ce r\u00e9arrang\u00e9e de force. Nevermind<\/em> n’entre pas sur la pointe des pieds. Smells Like Teen Spirit<\/em> commence par une figure de guitare qu’on peut fredonner apr\u00e8s un seul passage, puis le refrain arrive comme des meubles pouss\u00e9s contre une porte. Doucement, puis fort, puis doucement encore : le tour est vieux, et ici il est jou\u00e9 comme s’il venait d’\u00eatre d\u00e9couvert dans un garage. Sorti le 24 septembre 1991, chez DGC, l’album a l’air, pendant quelques semaines, d’un disque de plus \u00e0 gauche du cadran. Puis il est simplement le cadran.<\/p>\n

Butch Vig le produit \u00e0 Sound City, \u00e0 Van Nuys, en mai 1991. Dave Grohl a rejoint le groupe l’ann\u00e9e d’avant, et sa batterie est la raison pour laquelle les refrains font l’effet d’un temps qu’il fait plut\u00f4t que d’une d\u00e9cision. Andy Wallace mixe. Le b\u00e9b\u00e9 c\u00e9l\u00e8bre, Spencer Elden, a \u00e9t\u00e9 photographi\u00e9 sous l’eau par Kirk Weddle, tendant la main vers un dollar accroch\u00e9 \u00e0 un hame\u00e7on, une image que Kurt Cobain voulait parce qu’elle \u00e9tait brutale. Les chansons ne sont pas toutes brutales. Polly<\/em> avait d\u00e9j\u00e0 \u00e9t\u00e9 saisie, plus calme, lors de s\u00e9ances ant\u00e9rieures, une histoire racont\u00e9e presque sans hausser la voix. Something in the Way<\/em> est chant\u00e9e si pr\u00e8s, Cobain sur un canap\u00e9 dans la r\u00e9gie, que le groupe doit jouer autour d’un murmure. Entre ces deux pi\u00e8ces chuchot\u00e9es, Lithium<\/em>, In Bloom<\/em>, Come as You Are<\/em> et Drain You<\/em> font le travail de toute une sc\u00e8ne : la m\u00e9lodie d’abord, l’abrasion ensuite, jamais l’inverse.<\/p>\n

Ce dont les gens ont discut\u00e9, plus tard, c’est de savoir si un instinct pop avait trahi un instinct punk. Le disque lui-m\u00eame ne discute pas. Il met simplement le hook l\u00e0 o\u00f9 un slogan aurait pu aller, puis laisse la basse de Krist Novoselic tra\u00eener au sol pendant que le hook sourit. La voix de Cobain se f\u00eale aux endroits qu’un chanteur plus prudent aurait corrig\u00e9s. Ces f\u00ealures sont la signature. On entend un homme qui voulait que la chanson soit indiscutable et qui voulait aussi \u00e9chapper aux gens pour qui elle le serait. Les deux envies sont dans le mix. Le brillant de Wallace ne les a pas effac\u00e9es. Il les a fait voyager.<\/p>\n

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\n

I was trying to write the ultimate pop song. I was basically trying to rip off the Pixies. I have to admit it.<\/p>\n<\/blockquote>\n

(Kurt Cobain, entretien avec David Fricke, Rolling Stone, 27 janvier 1994)<\/em><\/p>\n

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En janvier 1992, l’album est num\u00e9ro un en Am\u00e9rique, d\u00e9logeant Dangerous<\/em> de Michael Jackson. Le symbole \u00e9tait trop net, et il \u00e9tait aussi vrai. Un groupe qui s’attendait \u00e0 tourner dans des clubs devient soudain un fait public, et le fait ne va pas \u00e0 la vie. Les chansons, \u00e9cout\u00e9es loin de cette histoire, restent un jeu de petites machines : couplet, refrain, un pont qui ressemble \u00e0 une respiration retenue, un retour qui frappe plus fort parce qu’on savait qu’il arrivait. Ce n’est pas une trahison. C’est de l’\u00e9criture. L’argument de la trahison \u00e9tait une fa\u00e7on de ne pas admettre combien il y avait de m\u00e9tier dans le bruit.<\/p>\n

Jouez Teen Spirit<\/em> une fois pour le refrain, puis jouez Something in the Way<\/em> et restez pour le calme. L’ampleur de l’album est le point que l’affiche a oubli\u00e9. Une chanson enfonce la porte. Une autre s’assoit par terre et ne vous regarde pas. Les deux sont des m\u00eames trois personnes, la m\u00eame ann\u00e9e, sur la m\u00eame pochette qu’un b\u00e9b\u00e9 \u00e0 qui l’on n’a pas encore demand\u00e9 \u00e0 quoi servait le dollar. La question a surv\u00e9cu au classement. Les chansons aussi.<\/p>\n

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En septembre 1991, un trio d’Aberdeen met un b\u00e9b\u00e9 et un billet d’un dollar sur la pochette et, dedans, un ensemble de chansons qui sonnent comme une pi\u00e8ce r\u00e9arrang\u00e9e de force.<\/p>\n","protected":false},"author":1,"featured_media":9819,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[288,287],"tags":[311,459],"class_list":["post-9823","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-albums-fr","category-chroniques","tag-alternative-indie-punk-fr","tag-nirvana-fr","post_format-post-format-video"],"yoast_head":"\nNevermind - Nirvana - 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\/chroniques\/nevermind-nirvana-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Nevermind - 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