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Rock, Jazz, Progressif, Metal, Electro, Hardcore Guts Of Darkness Le webzine des musiques sombres et expérimentales : rock, jazz, progressif, metal, electro, hardcore... avril 2015 Vous pouvez retrouvez nos chroniques et nos articles sur www.gutsofdarkness.com © 2000 - 2015 Un sommaire de ce document est disponible à la fin. Page 2/183 Les chroniques Page 3/183 Thunder Way : The Order Executors Chronique réalisée par Rastignac Je parcourais du regard les pays présents sur guts of darkness. On en est à 126, pas mal non ? Et puis, par curiosité, je suis allé voir la liste des États souverains sur wikimerdia : eh, il nous en manque plus de septante ! "L'encyclopédie" en ligne nous dit 197 États pour l'ONU, sans rentrer dans les détails politiques des pays pas reconnus, juste un peu, ou juste par machin et pas par truc... Parmi les absents par chez nous, l'Albanie (ben oui, j'ai commencé par la lettre A, mais, rassurez-vous, je vais pas pousser le vice à combler le vide jusqu'à Z...). Bon, on sait que le pays a vécu pendant des décennies un ostracisme permettant une imperméabilité aux solos de Dave Mustaine, mais, comme toutes les bonnes choses ont une fin, la chute du "rideau de fer" a permis, même là-bas, l'émergence du tout puissant metal - enfin, juste d'une tête, parce que les groupes de ce genre se comptent encore aujourd'hui sur les dix doigts, quelques groupes récents de death à noter, enfin, pas grand chose quoi, contrairement à ses voisins. Premier sur la liste du pays : Thunder Way, fondé dit mon oreillette par un des premiers rockeurs albanais sous l'ancien régime. Le groupe est souvent catalogué comme power metal / speed metal. Comme une bonne partie de cette scène collée derrière cette étiquette non-gutsienne a tendance à m'endormir sérieux j'ai joué la carte méfiance, mais je me suis laissé aller à trainer une oreille après avoir longuement regardé l'illustration bien coloriageocrado de cette cassette introuvable, "rééditée" en Albanie par je ne sais qui sous format CDr patche inclus. Regardez moi cette pochette : si ça ne respire pas la désolation version stalinisme en fin de course ! Je me suis dit qu'il y aurait forcément un fond de croute malfaisant. A l'écoute, les influences, évidemment, sont à choper vers le heavy metal dérivé de Maiden, bien mixé avec un esprit speed teuton frisé à la Helloween ou Rage mais sans trop tomber dans une vulgarité laque et paillettes (bon, j'ai pas vu les clips passés sur la télé albanaise, ça doit valoir son pesant de Diamond Darrell). En fait, voilà pourquoi je vous parle de ce disque ici : cet album dégage une aura bien tristounette, grâce à ces shreds en modes mineur, des envolées de riffs heavy et speed lorgnant vers le thrash plus glauque, ou vers un power metal mais toujours une larmichette à l’œil. Vous ajoutez à cela cette impression que le chanteur est au bord de la dépression nerveuse, et pète de temps en temps des câbles en grognant entre deux envolées ultra-lyriques à la Bruce... et puis ce "Devil's Rules" presque entièrement instrumental, assez doom dans l'esprit d'un Candlemass. A lire ensuite les paroles, ça parle moyennement des gardiens du Metal qui se battent contre les gobelins de la mort, mais de trucs plus terre à terre comme la vie de bidasse qui transpire et qui flippe, et qui cauchemarde la nuit, en gros cet album parle de souffrance mentale et physique... pas étonnant venant de la part de mecs ayant grandi au pays des bunkers. On n'est donc pas dans la ripaille totale que l'on peut subir en écoutant Helloween grâce surtout au fabuleux guitariste ici aux manettes, et à un moral général semblant vraiment en berne. En 1993, l'heure n'était donc pas encore au metal qui fait rire en Albanie, malgré cette forme a priori bondissante comme un Gollum goulu tout droit sorti de la scène du Wacken en milieu d'après-midi. Thunder Way en sont donc arrivés à faire d'un sous-genre ultra-sucré une musique cafardée, un speed / heavy / power metal plombé par la fatalité et la souffrance. L'histoire nous dit que ce disque fut financé par un homme d'affaires albano-américain (je voudrais bien savoir qui) et que le groupe splitta ensuite, le guitariste gratouillant des délires pop dans les shows télévisés me dit-on encore du fond de l'internet. Drôle d'archive de la lose quand même, à offrir aux fous de guitare à solos, et aux amateurs de rêves Page 4/183 perdus. Note : 4/6 Page 5/183 Geto Boys : Till Death Do Us Part Chronique réalisée par Raven Un homme qui s'y connaissait très bien en laideur a un jour demandé : après tout, pourquoi n'y a-t-il pas autant d'art possible dans la laideur que dans la beauté ? Le hip-hop répond très bien à cette question : musique laide d'âme, musique d'ego, musique à qui certains ont tant reproché d'être pauvre, stupide, et plus digne de babouins que d'hommes, mais bon, après tout, le premier noir qui a soufflé dans une trompette a inspiré ce genre de réflexions aux individus de cette engeance. Geto Boys m'inspirent, comme bien d'autres, cette idée d'un art de la laideur. Avec eux le hip-hop avait les ongles crasseux, les survêtements et la casquette n'avaient pas l'air de sortir de la machine comme maintenant, avec tous ces putains d'esclaves content d'être propres, qui ont l'air photoshopés même en vrai et qui croient faire de l'esprit parce qu'ils gèrent la punchline. Putains de bouffons moyens, avez-vous oublié les Geto Boys ? Leurs pochettes comme celle-ci, déjà, sont en plein dans le thème. Laideur, assumée, limite sacerdoce. Ensuite y a le son, qui sent bien la misère, et la prise de drogues affaiblissantes. Bien funky-crapoteux, ce Till Death Do Us Apart, même dans ces moments plus groovy ("No nuts no glory"), jusqu'à descendre dans des beats de console game-boy ("Straight Gangstaism", mouhahahah). Et puis les paroles, qui comme d'habitude suintent l'imagination du pauvre, déblatérant toutes sortes de dégueulasseries, soit pour se faire mousser soit pour expurger le trop plein de merde dans la tête. Peut-être bien les deux. Et surtout ce côté parodique évident, par exemple sur ce "Cereal Killer" (qui a dit Blackout! ?) joyeusement débile où Scarface se tape un délire qui n'est pas sans évoquer le MM Food de MF Doom à venir. Ah ouais, Willie D. a été remplacé par un certain Big Mike, de la Nouvelle-Orléans, quelque chose de sérieux, apparemment ; je croyais sentir une odeur juvénile, aussi, mais il est bon le con... Ici, le style Geto Boys commence pourtant à montrer ses limites, moins flamboyant que sur leurs deux classiques précédents. Ils rappent dans les vestiaires de leur style, pour le meilleur comme pour le pire. Les délires psycho-gangsta laissent un peu plus de place au graveleux fainéant. L'effet southern, cette saveur texane, est bien là, mais des molleries comme "Murder Avenue", où l'inspiration psychopathe est encore là mais le son ne suit pas, donnent plus envie de réécouter ce qui s'est fait avant. Faut dire que ce rythme qui est globalement devenu plan-plan, glandouille-style, pâteux ("This dick's for you"), fout moins de funky-claques dans la gueule, c'est plus ensuqué, parfois indigent ; ça peut donner un charme toxicomane, je dis pas... Il y a bien ce marathon de flows de huit minutes à la fin, "Bring it on", procession de toute la clique Rap-a-lot, et surtout deux couplets cramés, l'un du non moins cramé Ganksta N-I-P, l'autre d'un Scarface halluciné... Ce Geto Boys m'est sympathique, mais j'en skippe le gras. Hormis le titre-marathon, on peut très facilement l'oublier ou l'éviter, d'ailleurs c'est visiblement ce que la plupart des gens font depuis sa sortie et ça ne change pas grand chose : la merde reste dans le caniveau. Bienheureux sont les diptères, en vérité je vous le dis. Note : 3/6 Page 6/183 Geto Boys : We Can't Be Stopped Chronique réalisée par Raven L'anecdote du nain borgne est connue : un soir comme les autres, Bushwick Bill, le MC miniature des Geto Boys, en pleine crise suicidaire, demande à sa femme de lui tirer dessus ; elle refuse, il la bastonne, et, jeu de nain jeu de vilain, une balle part du flingue et arrache l'oeil droit du rappeur, qui, décidé à crever, avait réussi à se placer juste en face du canon. A peine arrivé à l'hôpital, il est accompagné par ses potes, qui savent déjà qu'ils tiennent la pochette de leur prochain album. Voilà pour situer l'esprit Geto Boys, et pourquoi ils sont sur notre site. La pochette déjà culte avant la sortie, ne restait plus à nos daltons gangstas qu'à chier une quinzaine de morceaux dans la même mentalité que le précédent, quoiqu'encore plus sociopathe (le borgne est inspiré et ses deux potes pas moins), avec un style un peu moins brutalement funky peut-être, absence de Rubin au mix oblige, mais ce qui est perdu en sévérité funk est gagné en glauque : les prods, cheap, sentent les chiottes turques. Intro cultissime (ce sample de Scarface aaaah, ce son... Mobb Deep peuvent aller se rhabiller), hits qui défouraillent sur la face A, avec une préférence personnelle pour le titre éponyme, le bizarre-cheap "Chuckie", très proche du style d'Esham, et, bien sûr LE classique parmi les classiques, "Mind playing tricks on me" (seul moment de smooth avec la sex track "Quickie" et le, hum, paradisiaque "The Other Level") comme une halte rafraîchissante dans le lait de coco, et pourtant, le texte est pas du genre relax, c'est plutôt l'introspection paranoïde.
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