{"id":15312,"date":"2012-02-28T16:00:00","date_gmt":"2012-02-28T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/the-human-league-sintetizadores-de-sheffield-que-aprendieron-a-sonreir\/"},"modified":"2026-09-27T01:16:55","modified_gmt":"2026-09-26T23:16:55","slug":"the-human-league-sintetizadores-de-sheffield-que-aprendieron-a-sonreir","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/the-human-league-sintetizadores-de-sheffield-que-aprendieron-a-sonreir\/","title":{"rendered":"The Human League &#8211; Sintetizadores de Sheffield que aprendieron a sonre\u00edr"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">De las demos coldwave a Dare y un n\u00famero uno navide\u00f1o<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Martyn Ware e Ian Craig Marsh eran estudiantes de inform\u00e1tica en la Sheffield Polytechnic en 1977 cuando construyeron The Human League alrededor de dos sintetizadores y una caja de ritmos. Encontraron a Phil Oakey en un pub: alto, corte de pelo asim\u00e9trico, sin experiencia previa en escenarios. Adrian Wright se encargaba de las proyecciones de diapositivas durante las actuaciones. Las primeras grabaciones en el sello Fast Product de Bob Last eran fr\u00edas y sistem\u00e1ticas: \u00abBeing Boiled\u00bb (1978) describ\u00eda f\u00e1bricas de seda sobre una melod\u00eda plana de sintetizador y el bar\u00edtono sin procesar de Oakey. No se parec\u00eda a nada de lo que sonaba en las radios brit\u00e1nicas.<\/p>\n<p style=\"text-align: justify;\">Reproduction (1979) y Travelogue (1980), ambos en Virgin, prolongaron el enfoque: m\u00fasica electr\u00f3nica europea filtrada por la geograf\u00eda industrial de Sheffield, sin el calor disco de Giorgio Moroder ni la precisi\u00f3n pop-artesanal de Kraftwerk. The Human League estaba interesado en la desconexi\u00f3n, la brecha entre la regularidad de la m\u00e1quina y la voz de Oakey, que nunca se volvi\u00f3 t\u00e9cnicamente suave. Actuaban en escuelas de arte y teloneaban a Siouxsie and the Banshees; encajaban en el momento post-punk sin ser un grupo de guitarras.<\/p>\n<p style=\"text-align: justify;\">En noviembre de 1980, Ware y Marsh se fueron para formar Heaven 17, llev\u00e1ndose con ellos la direcci\u00f3n electr\u00f3nica existente del grupo. Oakey conserv\u00f3 el nombre con el respaldo de Virgin, mantuvo a Adrian Wright, y contrat\u00f3 a Ian Burden en el sintetizador de bajo y a Jo Callis como guitarrista y compositor. Tambi\u00e9n reclut\u00f3 a Joanne Catherall y Susan Ann Sulley, ambas de diecisiete a\u00f1os, de la discoteca Crazy Daisy de Sheffield, donde bailaban. Ninguna hab\u00eda cantado profesionalmente antes. Oakey las ensay\u00f3 durante meses.<\/p>\n<p style=\"text-align: justify;\">Dare fue grabado en los Genetic Studios de Berkshire con el productor Martin Rushent en 1981 y publicado en octubre. Rushent aport\u00f3 una programaci\u00f3n LinnDrum m\u00e1s ajustada y un instinto pop que los primeros \u00e1lbumes de The Human League hab\u00edan mantenido a distancia. \u00abThe Sound of the Crowd\u00bb, \u00abLove Action (I Believe in Love)\u00bb y \u00abOpen Your Heart\u00bb construyeron el recorrido en las listas brit\u00e1nicas durante el verano. \u00abDon&#8217;t You Want Me\u00bb, un llamada-respuesta entre Oakey y Sulley, un trabajador de f\u00e1brica y una actriz a punto de romper, era el \u00faltimo corte del \u00e1lbum y no se esperaba que fuera el single principal. Alcanz\u00f3 el n\u00famero uno brit\u00e1nico el d\u00eda de Navidad de 1981 y posteriormente encabez\u00f3 el Billboard Hot 100 en el verano de 1982. El corte de pelo, las dos chicas, el ritmo Linn y el videoclip narrativo se volvieron inseparables de la imagen del pop brit\u00e1nico de principios de los ochenta.<\/p>\n<p style=\"text-align: justify;\">Fascination! (1983) e Hysteria (1984) continuaron la racha de singles; \u00abMirror Man\u00bb y \u00abKeep Feeling (Fascination)\u00bb construyeron el p\u00fablico americano. Crash (1986), grabado en Minneapolis con Jimmy Jam y Terry Lewis, que trabajaban simult\u00e1neamente con Janet Jackson, les dio \u00abHuman\u00bb, otro n\u00famero uno americano. El barniz de producci\u00f3n R&#038;B fue un giro americano deliberado que funcion\u00f3 comercialmente pero descoloc\u00f3 ligeramente al grupo de su base de credibilidad post-punk.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00bb14184&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_17904147498625{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Romantic? (1990) lleg\u00f3 cuando el momento inicial del synthpop hab\u00eda pasado. Octopus (1995), Secrets (2001) y Credo (2011) siguieron a intervalos m\u00e1s largos, encontrando p\u00fablicos m\u00e1s peque\u00f1os que los de Dare pero constantes. Oakey, Catherall y Sulley siguieron siendo el rostro p\u00fablico en todos estos discos. Heaven 17, que hab\u00eda producido \u00abTemptation\u00bb (1983) y su propia buena racha de singles, daba pie a comparaciones ocasionales; la separaci\u00f3n entre los dos grupos se mantuvo cordial en p\u00fablico.<\/p>\n<p style=\"text-align: justify;\">Los dos discos que m\u00e1s importan en cualquier discusi\u00f3n sobre la influencia del pop electr\u00f3nico en lo que vino despu\u00e9s son Reproduction, por la plantilla coldwave, y Dare, por la prueba de que pod\u00eda llevar melod\u00eda y llegar a un p\u00fablico masivo. Depeche Mode, New Order, Yazoo y Erasure siguieron m\u00e1s la direcci\u00f3n pop de Dare que la de Reproduction. La diferencia entre el Human League de Oakey y el Depeche Mode de Dave Gahan es en parte una cuesti\u00f3n de teatro: las chicas, los cortes de pelo y la historia de origen de Sheffield le daban a The Human League una narrativa pop que la m\u00fasica electr\u00f3nica a menudo carec\u00eda.<\/p>\n<p style=\"text-align: justify;\">Los grupos de synthpop que llegaron m\u00e1s tarde en los 80 a menudo suavizaron la tensi\u00f3n entre m\u00e1quina y voz que los primeros discos de The Human League manten\u00edan deliberadamente \u00e1spera. Esa aspereza original, a\u00fan audible en \u00abBeing Boiled\u00bb y los temas de Travelogue, es lo que conecta las grabaciones de Fast Product con la escena de la m\u00fasica industrial y distingue al grupo pre-separaci\u00f3n de la formaci\u00f3n pulida de Dare.<\/p>\n<p style=\"text-align: justify;\">Empezar con Dare: se sostiene como \u00e1lbum de principio a fin y el instinto pop es directo. A\u00f1adir \u00abBeing Boiled\u00bb y el material de Fast Product para la versi\u00f3n fr\u00eda antes de que llegara la m\u00e1quina de hits. Crash muestra hasta d\u00f3nde estaba dispuesto a viajar Oakey por otro n\u00famero uno. \u00abDon&#8217;t You Want Me\u00bb sigue siendo uno de los n\u00fameros uno brit\u00e1nicos mejor construidos de la d\u00e9cada: narrativa, separaci\u00f3n vocal clara, paciencia de la caja de ritmos.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Martyn Ware e Ian Craig Marsh eran estudiantes de inform\\u00e1tica en la Sheffield Polytechnic en 1977 cuando construyeron The Human League alrededor de dos sintetizadores y una caja de ritmos.<\/p>\n","protected":false},"author":1,"featured_media":8625,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[299,301],"tags":[458,959],"class_list":["post-15312","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-criticas","category-grupos","tag-newwave-electro-triphop-es","tag-the-human-league-es"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Human League - Sintetizadores de Sheffield que aprendieron a sonre\u00edr - 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\/es\/criticas\/grupos\/the-human-league-sintetizadores-de-sheffield-que-aprendieron-a-sonreir\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Human League - Sintetizadores de Sheffield que aprendieron a sonre\u00edr - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Martyn Ware e Ian Craig Marsh eran estudiantes de informu00e1tica en la Sheffield Polytechnic en 1977 cuando construyeron The Human League alrededor de dos sintetizadores y una caja de ritmos.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/the-human-league-sintetizadores-de-sheffield-que-aprendieron-a-sonreir\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2012-02-28T15:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-26T23:16:55+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2026\/09\/117.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"700\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:site\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/grupos\\\/the-human-league-sintetizadores-de-sheffield-que-aprendieron-a-sonreir\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/grupos\\\/the-human-league-sintetizadores-de-sheffield-que-aprendieron-a-sonreir\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/#\\\/schema\\\/person\\\/1f742458457cfc69e236f2bfdaad9599\"},\"headline\":\"The Human League &#8211; 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