{"id":15856,"date":"2008-06-09T13:00:00","date_gmt":"2008-06-09T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/the-stranglers-punk-muscle-with-a-keyboard-bite\/"},"modified":"2026-09-26T23:58:35","modified_gmt":"2026-09-26T21:58:35","slug":"the-stranglers-punk-muscle-with-a-keyboard-bite","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/the-stranglers-punk-muscle-with-a-keyboard-bite\/","title":{"rendered":"The Stranglers – M\u00fasculo punk con mordisco de teclado"},"content":{"rendered":"

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De Guildford a las listas: Cornwell, Burnel, Greenfield, Black, y una banda punk que conserv\u00f3 los teclados<\/h3>\n

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The Stranglers llegaron al momento punk brit\u00e1nico de 1976 ya m\u00e1s mayores que la mayor\u00eda de sus contempor\u00e1neos, m\u00e1s experimentados musicalmente y considerablemente m\u00e1s dif\u00edciles de encuadrar. Hugh Cornwell en guitarra y voz, Jean-Jacques Burnel en bajo y voz, Dave Greenfield en teclados y Jet Black en bater\u00eda llevaban tocando juntos en diversas configuraciones desde mediados de los setenta en Guildford y alrededores, Surrey. La distancia de Londres puede haberles ayudado a mantener los instintos pub-rock que hacen que sus primeros discos suenen distintos a cualquier cosa que operara bajo la bandera punk.<\/p>\n

Cornwell hab\u00eda estudiado bioqu\u00edmica en la Universidad de Bristol, lo que da a las letras del grupo una precisi\u00f3n cl\u00ednica ocasional inusual en el rock. Greenfield ten\u00eda formaci\u00f3n cl\u00e1sica, su enfoque del \u00f3rgano Vox Continental bebiendo tanto del jazz y el cabaret europeo como del rock. Burnel hab\u00eda practicado artes marciales \u2014 cintur\u00f3n negro de k\u00e1rate \u2014 y aportaba un estilo de bajo construido sobre la precisi\u00f3n y la agresividad, mezclado grave y prominente. Jet Black, el miembro m\u00e1s mayor con diferencia y antiguo propietario de una tienda de licores en Guildford, tocaba con un groove pesado y sin prisa que encajaba de forma extra\u00f1a con la velocidad esperada del punk. Ninguno de ellos encajaba en la plantilla, que era justamente el objetivo.<\/p>\n

Rattus Norvegicus (United Artists, 1977) introdujo la f\u00f3rmula: el \u00f3rgano distorsionado de Greenfield sobre la mezcla orientada al bajo de Burnel, la guitarra y la entrega sard\u00f3nica de Cornwell, y canciones que oscilaban entre el desprecio, el humor negro y la melod\u00eda extra\u00f1a. \u00abPeaches\u00bb, \u00abLondon Lady\u00bb, \u00abUgly\u00bb y \u00abHanging Around\u00bb mostraron una banda que hab\u00eda absorbido la amenaza de teclado de The Doors y la agresividad de la escena pub-rock sin reproducir ninguna de las dos. No More Heroes sigui\u00f3 m\u00e1s tarde el mismo a\u00f1o con el tema hom\u00f3nimo, \u00abDagenham Dave\u00bb y \u00abEnglish Towns\u00bb \u2014 la plantilla se ajusta, el humor negro se afila.<\/p>\n

Black and White (1978) trajo ritmos reggae junto al m\u00fasculo punk. The Raven (1979) y The Gospel According to the Meninblack (1981) se adentraron en un territorio experimental m\u00e1s extra\u00f1o, siendo este \u00faltimo un disco conceptual sobre invasi\u00f3n alien\u00edgena que dividi\u00f3 a los cr\u00edticos de forma decisiva. La Folie (1981) conten\u00eda \u00abGolden Brown\u00bb \u2014 un vals impulsado por clavic\u00e9mbalo en 13\/8 sobre el azafr\u00e1n o la hero\u00edna seg\u00fan la lectura preferida \u2014 que alcanz\u00f3 el n\u00famero dos en el Reino Unido y se convirti\u00f3 en uno de los singles m\u00e1s genuinamente extra\u00f1os de la era. La canci\u00f3n no se parec\u00eda a nada en su cat\u00e1logo ni en las listas de entonces.<\/p>\n

Cornwell se fue en 1990, citando agotamiento creativo y el deseo de seguir una carrera en solitario. John Ellis tom\u00f3 la guitarra y m\u00e1s tarde Paul Roberts se uni\u00f3 como vocalista, manteniendo al grupo activo a lo largo de los 90 y 2000 con el n\u00facleo Burnel-Black intacto. Greenfield muri\u00f3 en 2012; la banda absorbi\u00f3 la p\u00e9rdida y continu\u00f3, una demostraci\u00f3n notable de impulso institucional. El cat\u00e1logo del per\u00edodo inicial sigue siendo el documento esencial, pero la supervivencia del grupo a trav\u00e9s de m\u00e1s de cuatro d\u00e9cadas de cambios de formaci\u00f3n es en s\u00ed misma una especie de argumento.<\/p>\n

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El sonido de los primeros discos de los Stranglers est\u00e1 construido de abajo hacia arriba. El \u00f3rgano de Greenfield llena el registro superior donde normalmente estar\u00eda una guitarra r\u00edtmica, mientras el bajo de Burnel ocupa un rango de medios graves inusual en el rock. La guitarra de Cornwell opera en los espacios que quedan, lo que da a los arreglos una presi\u00f3n ligeramente claustrof\u00f3bica que se adapta a las letras. La mezcla es densa pero organizada, cada instrumento audible porque cada uno ocupa un registro distinto. La entrega vocal de Cornwell es distante, casi acad\u00e9mica \u2014 lo que amplifica en lugar de atenuar la amenaza cuando el material lo requiere.<\/p>\n

La distancia entre los Stranglers y sus contempor\u00e1neos punk merece se\u00f1alarse. The Clash cre\u00eda en algo pol\u00edtico y actuaba en consecuencia. Los Sex Pistols eran una provocaci\u00f3n deliberadamente construida. The Damned eran divertidos y r\u00e1pidos. Los Stranglers eran mayores, musicalmente m\u00e1s sofisticados, e impulsados por una combinaci\u00f3n m\u00e1s dif\u00edcil de definir de misantrop\u00eda, inteligencia y aut\u00e9ntico don mel\u00f3dico. No pertenec\u00edan del todo al momento punk, por eso lo sobrevivieron.<\/p>\n

Para oyentes que conocen a los Doors o el extremo m\u00e1s orientado a teclados del rock brit\u00e1nico, la transici\u00f3n al territorio Stranglers es inmediata. \u00abHanging Around\u00bb y \u00abPeaches\u00bb son los puntos de partida naturales. \u00abGolden Brown\u00bb es el inevitable caso at\u00edpico. La recopilaci\u00f3n The Collection 1977-1982 cubre el per\u00edodo esencial sin necesidad de decidir por qu\u00e9 \u00e1lbum de estudio empezar. A\u00f1ade \u00abNo More Heroes\u00bb, \u00abAlways the Sun\u00bb, \u00abSomething Better Change\u00bb y \u00abGolden Brown\u00bb y el argumento principal queda cubierto.<\/p>\n

Lo que hace que el cat\u00e1logo merezca volver a \u00e9l es la combinaci\u00f3n de virtuosismo musical genuino y extra\u00f1eza genuina \u2014 dos cualidades que a menudo se anulan mutuamente en el rock, y que los Stranglers lograron mantener en tensi\u00f3n durante la mejor parte de cinco a\u00f1os. Los primeros discos no son c\u00f3modos, y ese es precisamente el objetivo.<\/p>\n

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Hugh Cornwell, Jean-Jacques Burnel, Dave Greenfield y Jet Black formaron The Stranglers a mediados de los 70 y llevaron \\u00f3rgano, gru\\u00f1ido de bajo y m\\u00fasculo pub-rock al momento punk brit\\u00e1nico.<\/p>\n","protected":false},"author":1,"featured_media":7384,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[299,301],"tags":[313,689],"class_list":["post-15856","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-criticas","category-grupos","tag-alternative-indie-punk-es","tag-the-stranglers-es"],"yoast_head":"\nThe Stranglers - M\u00fasculo punk con mordisco de teclado - 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-stranglers-punk-muscle-with-a-keyboard-bite\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Stranglers - 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