{"id":20116,"date":"2020-02-10T06:14:19","date_gmt":"2020-02-10T05:14:19","guid":{"rendered":"http:\/\/www.artnroll.net\/home\/?p=20116"},"modified":"2020-02-10T06:16:23","modified_gmt":"2020-02-10T05:16:23","slug":"chronique-de-apocalypse-chill-delain","status":"publish","type":"post","link":"https:\/\/www.artnroll.net\/home\/?p=20116","title":{"rendered":"Chronique de Apocalypse & Chill – Delain"},"content":{"rendered":"

\"DelainGroupe : <\/strong>Delain
\nAlbum : <\/strong>Apocalypse & Chill
\nLabel : <\/strong>Napalm Records
\nDate de sortie :<\/strong> 7 f\u00e9vrier 2020
\nNote :<\/strong> 15,5\/20<\/p>\n

<\/a> Delain<\/a> a enregistr\u00e9 sans coup f\u00e9rir depuis la fin des ann\u00e9es 2000 parmi les plus belles chansons de Metal symphonique (\u00ab <\/span>Stardust\u00a0<\/i><\/span>\u00bb, \u00ab\u00a0<\/span>We are the Others\u00a0<\/i><\/span>\u00bb, \u00ab\u00a0<\/span>Get the Devil out of me<\/i><\/span>\u00a0\u00bb, \u00ab\u00a0<\/span>Don\u2019t Let Go<\/i><\/span>\u00a0\u00bb, etc\u2026). Quatre ans se sont \u00e9coul\u00e9s depuis la sortie de <\/span>Moonbathers<\/b><\/i><\/span>, lequel rec\u00e8le une large part de leurs classiques (\u00ab\u00a0<\/span>Hands of Gold<\/i><\/span>\u00a0\u00bb, \u00ab\u00a0<\/span>The Glory and the Scum<\/i><\/span>\u00a0\u00bb, \u00ab<\/span>\u00a0Suckerpunch\u00a0<\/i><\/span>\u00bb, \u00ab\u00a0<\/span>The Hurricane<\/i><\/span>\u00a0\u00bb, etc\u2026) et celle de cet <\/span>Apocalypse & Chill<\/b><\/i><\/span>, un espace inhabituel pour nos bataves. Entre les deux, ils ont commercialis\u00e9 une \u00e9dition anniversaire des dix ans de <\/span>Lucidity<\/b><\/i><\/span> (le premier de leurs six albums studio, originellement paru en 2006), un <\/span>album l<\/span>ive (\u00e9galement anniversaire) enregistr\u00e9 au cultissime Paradiso d\u2019Amsterdam, puis un EP moiti\u00e9 studio moiti\u00e9 public (le poussif <\/span>Hunter’s Moon<\/b><\/i><\/span>), ont chang\u00e9 de batteur, et Merel Bechtold leur jeune guitariste int\u00e9gr\u00e9e en 2016, les a finalement quitt\u00e9s en 2019, retournant jouer du <\/span>d<\/span>eath technique dans sa chambre. Autant constater que le <\/span>s<\/span>torytelling<\/span> ne fleurait pas sp\u00e9cialement bon la s\u00e9r\u00e9nit\u00e9, la marche \u00e9tant haute \u00e0 gravir. Et contrairement \u00e0 ce qu\u2019\u00e9crit (pronostique\u00a0?) l\u2019excellent magazine Kerrang!, <\/span>Apocalypse<\/b><\/i><\/span> <\/b>& Chill<\/b><\/i><\/span> n\u2019est pas \u00ab\u00a0leur meilleur disque \u00e0 ce jour\u00a0\u00bb\u2026<\/span><\/p>\n

<\/a> Le groupe est n\u00e9anmoins adulte et s\u00fbr de sa formule. La pochette de l\u2019album n\u2019est plus, contrairement aux pr\u00e9c\u00e9dentes, une peinture na\u00efve fa\u00e7on <\/span>a<\/span>rt d\u00e9co, mais une photo plus contemporaine, quasi-futuriste (la suite logique de leur collaboration ces derniers temps avec le photographe Tim Tronckoe\u2026). La production, sign\u00e9e par le clavier Martijn Westerholt, le cerveau de la formation, s\u2019est bonifi\u00e9e (celle de <\/span>Moonbathers<\/b><\/i><\/span> p\u00e9chait par son caract\u00e8re trop monolithique et rond). Les premi\u00e8res mesures de \u00ab\u00a0<\/span>One Second<\/i><\/span>\u00a0\u00bb, la piste inaugurale, d\u00e9boulent telle une chaleureuse retrouvaille avec de vrais amis. Car les compositions piochent ici et l\u00e0 dans un pass\u00e9 proche et plus lointain, tant plans instrumentaux que vocalises (le riff d\u2019intro de \u00ab\u00a0<\/span>We Had Everything<\/i><\/span>\u00a0\u00bb est presque celui d\u2019<\/span>April Rain<\/b><\/i><\/span>), attestant d\u2019une marque de fabrique unique (arme fatale dans le monde st\u00e9r\u00e9otyp\u00e9 du sympho). Hormis la brillance des m\u00e9lodies, la valeur ajout\u00e9e se niche ind\u00e9niablement dans le chant de Charlotte Wessels\u00a0: la vestale se faisant tant\u00f4t acidul\u00e9e (\u00ab\u00a0<\/span>Burning Bridges<\/i><\/span>\u00a0\u00bb), parfois \u00e9pique (\u00ab\u00a0<\/span>Masters of Destiny<\/i><\/span>\u00a0\u00bb), syst\u00e9matiquement charmante. <\/span><\/p>\n

La jeune <\/span>It Girl <\/span>m<\/span>etal romantique qui figurait sur la pochette d\u2019<\/span>April Rain<\/b><\/i><\/span> est devenue une femme \u00e9panouie, faisant montre de sa polyvalence vocale. Et elle sait parfaitement imiter le cri du pt\u00e9rodactyle (du moins l\u2019id\u00e9e que s\u2019en fait <\/span>Homo Sapiens<\/i><\/span>\u2026) sur son Facebook. Comme toujours, le synth\u00e9 est omnipr\u00e9sent et polymorphe, passant du symphonique strict (\u00ab\u00a0<\/span>To Live is to Die<\/i><\/span>\u00a0\u00bb) \u00e0 la <\/span>p<\/span>op des plus sucr\u00e9es jou\u00e9e \u00e0 deux doigts sur le clavier, tendance Jacno \u2013 Etienne Daho 1980\u2019s (\u00ab\u00a0<\/span>We had Everything<\/i><\/span>\u00a0\u00bb). Nul ne l\u2019ignore, les n\u00e9erlandais sont, au moins depuis Dave, des experts en glucose auditif. Certes, le d\u00e9part de Merel se ressent, une deuxi\u00e8me guitare leur aurait permis de gagner en \u00e9paisseur, voire de pouvoir \u00e9galer leurs compatriotes de Within Temptation en termes de puissance de feu. Mais l\u00e0 ne semble pas se situer le propos de Westerholt, Wessels & co\u00a0: nous avons affaire \u00e0 un groupe singulier, auquel le qualificatif \u00ab\u00a0<\/span>p<\/span>op <\/span>m<\/span>etal\u00a0\u00bb si\u00e9rait davantage. Une sorte de Blondie du genre. Pour le reste, rendez-vous est pris le dimanche 21 juin pour une soir\u00e9e charg\u00e9e en saccharose\u00a0: Delain se produira sur la Mainstage 2 du Hellfest, apr\u00e8s Doro, Jinjer, Lacuna Coil, et avant Baby Metal. N\u2019oubliez pas de bien vous brosser les dents apr\u00e8s.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Groupe : Delain Album : Apocalypse & Chill Label : Napalm Records Date de sortie : 7 f\u00e9vrier 2020 Note : 15,5\/20 Delain a enregistr\u00e9 sans coup f\u00e9rir depuis la fin des ann\u00e9es 2000 parmi les plus belles chansons de Metal symphonique (\u00ab Stardust\u00a0\u00bb, \u00ab\u00a0We are the Others\u00a0\u00bb, \u00ab\u00a0Get the Devil out of me\u00a0\u00bb, \u00ab\u00a0Don\u2019t Let Go\u00a0\u00bb, etc\u2026). Quatre ans se sont \u00e9coul\u00e9s depuis la sortie de Moonbathers, lequel rec\u00e8le une large part de leurs classiques (\u00ab\u00a0Hands of Gold\u00a0\u00bb, \u00ab\u00a0The Glory and the Scum\u00a0\u00bb, \u00ab\u00a0Suckerpunch\u00a0\u00bb, \u00ab\u00a0The Hurricane\u00a0\u00bb, etc\u2026) et celle de cet Apocalypse & Chill, un espace inhabituel pour nos […]<\/p>\n","protected":false},"author":23,"featured_media":20118,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[6],"tags":[2222,402,1134],"class_list":["post-20116","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques-cd","tag-apocalypse-chill","tag-delain","tag-napalm-records"],"yoast_head":"\nChronique de Apocalypse & Chill - Delain - Art'n'Roll Webzine<\/title>\n<meta name=\"description\" content=\"Art'n Roll a \u00e9cout\u00e9 pour vous le dernier album de Delain, Apocalypse & Chill, sorti ce 7 f\u00e9vrier 2020.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.artnroll.net\/home\/?p=20116\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Chronique de Apocalypse & Chill - 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