{"id":18898,"date":"2023-01-31T14:12:32","date_gmt":"2023-01-31T13:12:32","guid":{"rendered":"https:\/\/culturesco.com\/?p=18898"},"modified":"2023-12-01T13:18:46","modified_gmt":"2023-12-01T12:18:46","slug":"simple-minds-empires-and-dance","status":"publish","type":"post","link":"https:\/\/culturesco.com\/index.php\/2023\/01\/31\/simple-minds-empires-and-dance\/","title":{"rendered":"SIMPLE MINDS : Empires And Dance"},"content":{"rendered":"<h2>Un myst\u00e9rieux journal de voyage, bien avant les hits&#8230;<\/h2>\n<figure id=\"attachment_18906\" aria-describedby=\"caption-attachment-18906\" style=\"width: 500px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-18906\" src=\"https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/Simple-Minds-early.jpg?resize=500%2C255&#038;ssl=1\" alt=\"Simple Minds \" width=\"500\" height=\"255\" srcset=\"https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/Simple-Minds-early.jpg?w=500&amp;ssl=1 500w, https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/Simple-Minds-early.jpg?resize=300%2C153&amp;ssl=1 300w, https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/Simple-Minds-early.jpg?resize=118%2C60&amp;ssl=1 118w, https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/Simple-Minds-early.jpg?resize=176%2C90&amp;ssl=1 176w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><figcaption id=\"caption-attachment-18906\" class=\"wp-caption-text\">Simple Minds au d\u00e9but des ann\u00e9es 80 : Charlie Burchill, Derek Forbes, Jim Kerr, Mick McNeil, Brian McGee<\/figcaption><\/figure>\n<p style=\"text-align: justify;\">En 1980, les gars de Glasgow ont d\u00e9j\u00e0 prouv\u00e9 qu\u2019ils ont au moins un certain sens de l\u2019autod\u00e9rision crypt\u00e9e, en s\u2019appelant d\u00e8s 78 les <strong>Simples d&rsquo;esprit<\/strong>, tout \u00e7a pour citer le <strong>Jean Genie<\/strong> de <strong>Bowie<\/strong>. Des bonnes r\u00e9f\u00e9rences d\u2019ailleurs, ils en mangent : le <strong>Thin White Duke<\/strong>, mais aussi <strong>Lou Reed<\/strong>, <a href=\"https:\/\/culturesco.com\/index.php\/2020\/12\/31\/roxy-music-for-your-pleasure-stranded-country-life\/\"><strong>Roxy Music<\/strong><\/a>, <a href=\"https:\/\/culturesco.com\/index.php\/2022\/02\/21\/kraftwerk-radioactivity-sur-toutes-les-ondes\/\"><strong>Kraftwerk<\/strong> <\/a>et surtout <a href=\"https:\/\/culturesco.com\/index.php\/2020\/12\/26\/gang-of-four-vs-magazine-post-punk-new-wave-real-life-entertainment\/\"><strong>Magazine<\/strong><\/a>, le groupe d\u2019<strong>Howard Devoto,<\/strong> qui a fait le lien entre le <strong>Punk<\/strong> et la <strong>New Wave<\/strong>. Leurs deux premiers albums, <strong>Life In A Day<\/strong> et <strong>Real To Real Cacophony,<\/strong> tous deux sortis en 1979 (!) chez le label <strong>Arista<\/strong>, d\u00e9roulent un v\u00e9ritable jeu de pistes musicales, orient\u00e9 par les balises de leurs mod\u00e8les. Le chanteur <strong>Jim Kerr <\/strong>adopte un mani\u00e9risme vocal mi <strong>Devoto <\/strong>mi <strong>Bryan Ferry <\/strong>et leur son se cherche encore. Pour <strong>Derek Forbes<\/strong> \/ basse, <strong>Mick McNeil<\/strong> \/ claviers, <strong>Charlie Burchill<\/strong> \/ guitare et <strong>Brian McGee<\/strong> \/ batterie, les doigts sont encore raides \u2013 dixit <strong>Jim Kerr<\/strong> -, les tempos parfois h\u00e9sitants, et le micro timide. Mais il y a une volont\u00e9 de recherche qui les titille de plus en plus, surtout dans le deuxi\u00e8me LP. Par contre, les ventes stagnent&#8230;<\/p>\n<h3>Simple Minds &#8211; Chelsea Girl &#8211; Life In A Day (1979)<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"nj7h70RdI_c\"><iframe loading=\"lazy\" title=\"Simple Minds - Chelsea Girl\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/nj7h70RdI_c\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<h3>EXP\u00c9RIMENTATION<\/h3>\n<p style=\"text-align: justify;\">De Mai \u00e0 Juillet 1980, le quintet pr\u00e9pare son troisi\u00e8me recueil aux fameux<strong> Rockfield Studios<\/strong> sous l\u2019\u00e9gide de <strong>John Leckie<\/strong> qui a d\u00e9j\u00e0 produit leurs deux opus pr\u00e9c\u00e9dents. L\u2019humeur est \u00e0 l\u2019exp\u00e9rimentation comme le racontera <strong>Leckie<\/strong>\u00a0:<\/p>\n<p style=\"text-align: justify;\"><em>\u00ab\u00a0Nous avons pass\u00e9 beaucoup de temps \u00e0 travailler sur des sons de guitare pour qu&rsquo;ils sonnent comme des claviers et des claviers pour qu&rsquo;ils sonnent comme des guitares. La technologie \u00e9tait un peu primitive \u00e0 l&rsquo;\u00e9poque car personne ne connaissait le MIDI et pourtant nous avons fait de superbes morceaux avec l&rsquo;arp\u00e9giateur sur le Roland Jupiter et le Korg MS20. Nous avons pass\u00e9 beaucoup de temps \u00e0 faire des claquements de mains et \u00e0 trouver le bon ton, l&rsquo;espace et la taille de r\u00e9verb\u00e9ration, et des caisses claires qui sonnent bizarrement.\u00a0\u00bb<\/em><\/p>\n<p style=\"text-align: justify;\">Pendant que les quatre musicos farfouillent,<strong> Jim Kerr<\/strong> \u00e9crit des textes impr\u00e9gn\u00e9s des \u00e9tapes de leurs tourn\u00e9es europ\u00e9ennes, tels des polaroids de cette Europe de fin de si\u00e8cle, alors coup\u00e9e en deux par l\u2019h\u00e9g\u00e9monie sovi\u00e9tique, meurtrie par le terrorisme et les attentats \u2013 des n\u00e9o-nazis, de l\u2019extr\u00eame-gauche, des groupes Palestiniens&#8230;- et pourtant en pleine effervescence artistique.<\/p>\n<h3>UNE PREMI\u00c8RE FACE\u2026 IMP\u00c9RIALE<\/h3>\n<p style=\"text-align: justify;\"><strong>Empires And Dance<\/strong> para\u00eet en Septembre 1980. Le photographe allemand <strong>Michael Ruetz<\/strong> signe la photo de pochette, ce buste soldatesque sur panorama du Parth\u00e9non avertit d\u00e9j\u00e0 du propos de m\u00eame que l\u2019utilisation d\u2019un faux alphabet cyrillique par les stylistes de <strong>The Artifex<\/strong> <strong>Studio<\/strong>. Les clich\u00e9s du gang au verso et sur l\u2019insert contenant les paroles sont des cr\u00e9ations opaques de <strong>Richard Coward<\/strong> \u00e0 partir de vid\u00e9os. Les notes indiquent 10 titres, 4 pour la premi\u00e8re face, 6 pour la seconde.<\/p>\n<figure id=\"attachment_18902\" aria-describedby=\"caption-attachment-18902\" style=\"width: 400px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-18902\" src=\"https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/sm_empire2-500.jpg?resize=400%2C400&#038;ssl=1\" alt=\"Verso de Empires And Dance\" width=\"400\" height=\"400\" srcset=\"https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/sm_empire2-500.jpg?w=400&amp;ssl=1 400w, https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/sm_empire2-500.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/sm_empire2-500.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/sm_empire2-500.jpg?resize=100%2C100&amp;ssl=1 100w, https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/sm_empire2-500.jpg?resize=50%2C50&amp;ssl=1 50w, https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/sm_empire2-500.jpg?resize=60%2C60&amp;ssl=1 60w, https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2023\/01\/sm_empire2-500.jpg?resize=90%2C90&amp;ssl=1 90w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><figcaption id=\"caption-attachment-18902\" class=\"wp-caption-text\">Empires And Dance : verso du vinyle<\/figcaption><\/figure>\n<p style=\"text-align: justify;\"><strong>I Travel<\/strong> ouvre le carnet de bord. Quel choc\u00a0! Apr\u00e8s une courte note de synth\u00e9 d\u00e9boule un s\u00e9quenceur bulldozer vite suivi de l\u2019implosion d\u2019une section rythmique implacable. Le bassiste <strong>Derek Forbes<\/strong> tourne autour des arp\u00e8ges \u00e9lectroniques avec sa Fender Precision. Batterie et percus m\u00e9talliques mart\u00e8lent un appel \u00e0 la danse disco\u00efde. <strong>Burchill<\/strong> \u00e9graine des notes de western indus sur sa guitare. Et le <strong>Jim<\/strong>, transfigur\u00e9, la voix dans un registre plus grave, \u00e9nonce son invitation au voyage\u00a0:<\/p>\n<p><em>Travel round, travel round<\/em><br \/>\n<em>Decadence and pleasure towns<\/em><br \/>\n<em>Tragedies, luxuries, statues, parks, galleries<\/em><br \/>\n<em>Travel round, travel round<\/em><br \/>\n<em>Decadence and pleasure towns<\/em><\/p>\n<h3>I Travel &#8211; Empires And Dance (1980)<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"_6MwzSaBBQY\"><iframe loading=\"lazy\" title=\"Simple Minds - I travel 1980\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/_6MwzSaBBQY\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\"><strong>Today I Died Again<\/strong>. Le tempo ralentit et le jeu de batterie devient plus \u00e9clat\u00e9. La plupart des titres partent de la structure initi\u00e9e par <strong>McGee \/ Forbes<\/strong>. Le producteur <strong>John<\/strong> <strong>Leckie<\/strong> pr\u00e9cisera d\u2019ailleurs que souvent les lignes du bassiste \u00e9taient le squelette de leur musique et les premi\u00e8res trouv\u00e9es. <strong>Burchill<\/strong> reste pratiquement en bourdon sur le m\u00eame accord. Des nappes de synth\u00e9tiseur glac\u00e9es et orientalistes de<strong> McNeil<\/strong> hantent le morceau. La r\u00e9verb\u00e9ration invers\u00e9e sur la voix toujours plus basse de<strong> Kerr<\/strong> pendant le refrain participe \u00e0 la morbidit\u00e9 irr\u00e9elle de son texte sur la r\u00e9incarnation. Est-ce vraiment le m\u00eame gars qui chantait le poppy <strong>Chelsea Girl<\/strong> un an plus t\u00f4t ?<\/p>\n<h3>Today I Died Again<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"0Emk6qReJ2M\"><iframe loading=\"lazy\" title=\"Today I Died Again (Remastered 2002)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/0Emk6qReJ2M\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">La mue vocale de <strong>Jim Kerr <\/strong>justement. Les gars ont craqu\u00e9 sur le <strong>Unknown Pleasures<\/strong> de <strong>Joy<\/strong> <strong>Division<\/strong> paru en Juin 1979. Consciemment ou non, le chant grave et impressionnant de <strong>Ian<\/strong> <strong>Curtis<\/strong> a peut-\u00eatre influenc\u00e9 le <strong>Jim<\/strong>. Et malheureusement, comme beaucoup, le quintet a sans doute subi le traumatisme de la disparition brutale du chanteur de <strong>Joy Division<\/strong>, en Mai 80, pendant les pr\u00e9paratifs d<strong>\u2019Empires And Dance<\/strong>\u2026<br \/>\nLe troisi\u00e8me titre, <strong>Celebrate<\/strong> ou les \u00c9cossais en plein <strong>Krautrock<\/strong>. Encore une fois, la ligne de basse \u2013 g\u00e9niale &#8211; am\u00e8ne une scansion hypnotique, renforc\u00e9e par le s\u00e9quenceur et des claquements de mains robotiques. Les claviers se d\u00e9guisent en fant\u00f4mes. <strong>Burchill<\/strong> triture sa guitare. Peu d\u2019arrangements, quelques variations pour le refrain o\u00f9 <strong>Kerr<\/strong> s\u2019amuse avec l\u2019\u00e9cho : le quintet cherche le minimalisme pour un maximum d\u2019effets. Tels <strong>Les Mannequins<\/strong> de <strong>Kraftwerk<\/strong>, nous commen\u00e7ons \u00e0 danser.<\/p>\n<h3>Celebrate<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"DxhVVU1qsXQ\"><iframe loading=\"lazy\" title=\"Celebrate (Remastered 2002)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/DxhVVU1qsXQ\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Depuis le fameux et originel <strong>Tomorrow Never Knows<\/strong> des <strong>Beatles<\/strong> sur <a href=\"https:\/\/culturesco.com\/index.php\/2021\/08\/05\/revolver-les-beatles-ouvrent-la-voie-psychedelique-eleanor-rigby-yellow-submarine\/\"><strong>Revolver <\/strong><\/a>en 1966, l\u2019id\u00e9e de transe obs\u00e8de les rockers. Apr\u00e8s une note de clavier, la s\u00e9quence monolithique de <strong>This<\/strong> <strong>Fear Of Gods<\/strong> appara\u00eet. Remarquons qu\u2019\u00e0 l\u2019\u00e9poque, les s\u00e9quenceurs s\u2019av\u00e8rent encore complexe \u00e0 manipuler, notamment sur sc\u00e8ne. Les captations Live montrent que <strong>McNeil<\/strong> joue souvent ses boucles enivrantes en temps r\u00e9el et en faux pilotage automatique . Puis \u00e9merge le magistral duo <strong>Forbes<\/strong> et <strong>McGee. <\/strong>Le bassiste et son batteur avancent dans un \u00e9tat second. <strong>Burchill<\/strong> alterne plaintes de saxophone free et crissements de cordes industriels tandis que le clavi\u00e9riste g\u00e9n\u00e8re des brumes et des\u00a0 brouillages en pianotant. Quant \u00e0 <strong>Jim Kerr<\/strong>, inspir\u00e9 para\u00eet-il par un livre de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Jorge_Luis_Borges\"><strong>Borges<\/strong><\/a>, il psalmodie son mantra, habit\u00e9 par la peur des Dieux. Sur sc\u00e8ne, m\u00eame actuellement, il termine cette supplication allong\u00e9 sur le dos, extatique.<\/p>\n<h3>This Fear Of Gods<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"hdFbVklPTjE\"><iframe loading=\"lazy\" title=\"This Fear Of Gods (Remastered 2002)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/hdFbVklPTjE\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Cette premi\u00e8re face s&rsquo;affiche imp\u00e9riale. Les <strong>Simple Minds<\/strong> y atteignent le niveau du <a href=\"https:\/\/culturesco.com\/index.php\/2019\/05\/29\/the-cure-trilogy-de-l-extreme-en-3-albums-de-pure-cold-wave-seventeen-seconds-faith-pornography\/\"><strong>Seventeen<\/strong> <strong>Seconds<\/strong> <\/a>de <strong>Cure<\/strong>, du<strong> Crocodiles<\/strong> d\u2019<a href=\"https:\/\/culturesco.com\/index.php\/2022\/11\/23\/echo-and-the-bunnymen-lalbum-porcupine\/\"><strong>Echo And The Bunnymen<\/strong><\/a>, parus quelques mois auparavant \u2013 respectivement en Avril et en Juillet 1980 \u2013 et carr\u00e9ment du premier chef d\u2019\u0153uvre de <strong>Joy Division<\/strong>. Mais\u2026<\/p>\n<h3>EN DE\u00c7\u00c0<\/h3>\n<p style=\"text-align: justify;\">Le titre <strong>Capital City<\/strong> entame la seconde partie par une nouvelle boucle basse \/ clavier entre <strong>Kraftwerk<\/strong> et<strong> Pink<\/strong> <strong>Floyd<\/strong>. Quand \u00e9mergent la rythmique, les arp\u00e8ges de la guitare \u00e9lectrique, puis surtout la voix de <strong>Kerr<\/strong>, kekchose d\u00e9raille. Une impression de retour en arri\u00e8re, confirm\u00e9e par les sonorit\u00e9s de claviers, les gars replongent dans le syndrome <strong>Magazine<\/strong>. M\u00eame la production plus clinquante perd son aura trouble et originale. On est revenu \u00e0 la case <strong>Real To Real Cacophony<\/strong>, <strong>Capital City<\/strong> ouvrant parfois les concerts de cette p\u00e9riode. <strong>Constantinople Line<\/strong>, le voisin tout en saccades et \u00e9chos, confirme cette tendance. Cela dit, le groupe ne propose pas de mauvais titres, non, et dans l\u2019esprit (sic), <strong>Kerr<\/strong> poursuit son discours impressionniste, mais le rendu s\u2019affiche en de\u00e7\u00e0.<\/p>\n<h3>Capital City<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"hth0iPU29tw\"><iframe loading=\"lazy\" title=\"Capital City (Remastered 2002)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/hth0iPU29tw\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Si certains restent convaincus que les \u00c9cossais ont toujours propos\u00e9 une Pop New Wave mainstream format\u00e9e Stades, faites-leur \u00e9couter <strong>Twist\/Run\/Repulsion<\/strong>, la 7e plage. En plein d\u00e9constructivisme, le quintet m\u00eale loop, \u00e9clats de cuivres, d\u00e9bauches de batterie, chant d\u00e9cal\u00e9 et r\u00e9citatif en Fran\u00e7ais d\u2019une copine \u2013 <strong>Chantalle Jeunet<\/strong> \u2013 lisant un extrait de <strong>La Perspective<\/strong> <strong>Nevski<\/strong> de l\u2019\u00e9crivain russe <strong>Nicolas Gogol<\/strong> ! Bizarre, vous avez dit bizarre\u2026<\/p>\n<h3>Twist\/Run\/Repulsion<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"AYjvQXTT3k4\"><iframe loading=\"lazy\" title=\"Twist\/Run\/Repulsion (Remastered 2002)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/AYjvQXTT3k4\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Les trois derniers titres en reviennent heureusement aux pr\u00e9mices. Ainsi, <strong>Thirty<\/strong> <strong>Frames A Second<\/strong> d\u00e9veloppe \u00e0 nouveau un incroyable arrangement. La basse de <strong>Derek Forbes<\/strong> fait du saut \u00e0 l\u2019\u00e9lastique avec les percus de <strong>Brian McGee.<\/strong> La mont\u00e9e instrumentale pendant les ponts appuy\u00e9e par les appels de <strong>Kerr<\/strong> d\u00e9gage une rare puissance annon\u00e7ant les prochains albums. Cette introspection sur le temps qui passe et ce qu\u2019on en fait se cl\u00f4t dans les d\u00e9chirures de la guitare li\u00e9es \u00e0 l\u2019instrumental suivant.<\/p>\n<h3>Thirty Frames A Second<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"_brfuDBfR8g\"><iframe loading=\"lazy\" title=\"Thirty Frames A Second (Remastered 2002)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/_brfuDBfR8g\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">La pi\u00e8ce <strong>Kant-Kino<\/strong> \u00e9voque les exp\u00e9riences ambiantes de<strong> Brian Eno<\/strong>. Improvis\u00e9e \u00e0 la fin de <strong>Thirty Frames A Second<\/strong>, elle cite une salle de cin\u00e9ma o\u00f9 les gars s\u2019\u00e9taient produits \u00e0 Berlin. Enfin la vignette <strong>Room<\/strong> conclut sobrement le LP dans une atmosph\u00e8re de solitude et d\u2019attente.<\/p>\n<div class=\"youtube-embed\" data-video_id=\"EC7GKXV3Ddw\"><iframe loading=\"lazy\" title=\"Room (Remastered 2002)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/EC7GKXV3Ddw\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<h3 style=\"text-align: justify;\">UNE \u0152UVRE DE TRANSITION ESSENTIELLE<\/h3>\n<p style=\"text-align: justify;\"><strong>Empires And Dance<\/strong> malgr\u00e9 toutes ses qualit\u00e9s rencontrera un accueil mitig\u00e9 : des critiques enthousiastes mais trop rares, autant que les ventes squelettiques. La faute sans doute au label <strong>Arista,<\/strong> qui d\u00e9pass\u00e9 par le projet, presse le LP au compte-gouttes, par paquet de 15 000, au cas o\u00f9. R\u00e9sultat, le public d\u00e9couvrant le groupe et ses morceaux en concert, par exemple en premi\u00e8re partie de <a href=\"https:\/\/culturesco.com\/index.php\/2020\/05\/30\/melt-album-de-la-consecration-pour-peter-gabriel-en-1980-biko-games-without-frontiers\/\"><strong>Peter Gabriel<\/strong><\/a>, cherchera en vain le disque dans les boutiques. Le maxi <strong>I<\/strong> <strong>Travel<\/strong> enflammera quand m\u00eame les pistes des clubs, participant \u00e0 la rumeur \u00e9logieuse. Notons que notre <strong>Philippe Man\u0153uvre<\/strong> national descendra les \u00c9cossais dans <strong>Rock&amp;Folk<\/strong> en les trouvant aussi ennuyeux que <strong>Genesis<\/strong>, une tirade qui aurait pu les tuer en ces temps d\u2019\u00e9litisme New Wave. Les <strong>Simple Minds<\/strong> finiront par quitter <strong>Arista <\/strong>pour l\u2019\u00e9quipe de <strong>Virgin<\/strong>, pr\u00eate \u00e0 soutenir leur prochaine cr\u00e9ation : l\u2019incontournable <strong>Sons And Fascination \/ Sister Feelings Call<\/strong>.<br \/>\n\u0152uvre au noir de transition, essentielle mais partiellement r\u00e9ussie, <strong>Empires And Dance <\/strong>est devenu un f\u00e9tiche pour beaucoup des premiers fans de <strong>Simple Minds.<\/strong> Ses titres embl\u00e9matiques, surtout de la 1re face, demeurent des moments phares en concert, quand les deux amis<strong> Kerr<\/strong> et <strong>Burchill<\/strong> feuillettent en live leur myst\u00e9rieux journal de voyage\u2026<\/p>\n<h3>This Fear Of Gods Live (2013)<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"aHZuV87M4iA\"><iframe loading=\"lazy\" title=\"Simple Minds - This Fear Of Gods\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/aHZuV87M4iA\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><strong>Bruno Polaro\u00efd<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Un myst\u00e9rieux journal de voyage, bien avant les hits&#8230; En 1980, les gars de Glasgow ont d\u00e9j\u00e0 prouv\u00e9 qu\u2019ils ont au moins un certain sens de l\u2019autod\u00e9rision crypt\u00e9e, en s\u2019appelant d\u00e8s 78 les Simples d&rsquo;esprit, tout \u00e7a pour citer le Jean Genie de Bowie. Des bonnes r\u00e9f\u00e9rences d\u2019ailleurs, ils en mangent : le Thin White [&hellip;]<\/p>\n","protected":false},"author":20,"featured_media":18932,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"image","meta":{"jetpack_post_was_ever_published":false,"tdm_status":"","tdm_grid_status":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[30,17,36,33],"tags":[37,12189,7625,12188],"class_list":{"0":"post-18898","1":"post","2":"type-post","3":"status-publish","4":"format-image","5":"has-post-thumbnail","7":"category-albums-rock","8":"category-carotte-rock-cultures","9":"category-groupes-rock-daujourdhui","10":"category-histoire-du-rock","11":"tag-album-rock","12":"tag-albums-essentiels","13":"tag-electro-rock","14":"tag-new-wave","15":"post_format-post-format-image"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - 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