{"id":15311,"date":"2012-02-28T16:00:00","date_gmt":"2012-02-28T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/the-human-league-synths-de-sheffield-qui-ont-appris-a-sourire\/"},"modified":"2026-09-27T01:16:55","modified_gmt":"2026-09-26T23:16:55","slug":"the-human-league-synths-de-sheffield-qui-ont-appris-a-sourire","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/the-human-league-synths-de-sheffield-qui-ont-appris-a-sourire\/","title":{"rendered":"The Human League – Synths de Sheffield qui ont appris \u00e0 sourire"},"content":{"rendered":"

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Des d\u00e9mos coldwave \u00e0 Dare et un num\u00e9ro un de No\u00ebl<\/h3>\n

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Martyn Ware et Ian Craig Marsh \u00e9taient \u00e9tudiants en informatique \u00e0 la Sheffield Polytechnic en 1977 quand ils ont construit The Human League autour de deux synth\u00e9tiseurs et d’une boite \u00e0 rythmes. Ils ont trouv\u00e9 Phil Oakey dans un pub : grand, coupe asym\u00e9trique, aucune exp\u00e9rience sc\u00e9nique ant\u00e9rieure. Adrian Wright s’occupait des projections de diapositives pendant les concerts. Les premiers enregistrements sur le label Fast Product de Bob Last \u00e9taient froids et syst\u00e9matiques : \u00ab\u00a0Being Boiled\u00a0\u00bb (1978) d\u00e9crivait des usines \u00e0 soie sur une m\u00e9lodie de synth\u00e9tiseur plate et le baryton non trait\u00e9 d’Oakey. \u00c7a ne ressemblait \u00e0 rien de ce qui passait sur les radios britanniques.<\/p>\n

Reproduction (1979) et Travelogue (1980), tous deux chez Virgin, ont prolong\u00e9 l’approche : musique \u00e9lectronique europ\u00e9enne filtr\u00e9e par la g\u00e9ographie industrielle de Sheffield, sans la chaleur disco de Giorgio Moroder ni la pr\u00e9cision pop-artisanale de Kraftwerk. The Human League s’int\u00e9ressait \u00e0 la d\u00e9connexion, \u00e0 l’\u00e9cart entre la r\u00e9gularit\u00e9 de la machine et la voix d’Oakey, qui ne s’est jamais liss\u00e9e techniquement. Ils jouaient dans les \u00e9coles d’art et assuraient les premi\u00e8res parties de Siouxsie and the Banshees ; ils s’inscrivaient dans le post-punk sans \u00eatre un groupe de guitares.<\/p>\n

En novembre 1980, Ware et Marsh sont partis pour former Heaven 17, emportant avec eux la direction \u00e9lectronique existante du groupe. Oakey a conserv\u00e9 le nom avec le soutien de Virgin, gard\u00e9 Adrian Wright, et recrut\u00e9 Ian Burden au synth\u00e9-basse et Jo Callis comme guitariste et parolier. Il a \u00e9galement recrut\u00e9 Joanne Catherall et Susan Ann Sulley, toutes deux \u00e2g\u00e9es de dix-sept ans, dans la boite de nuit Crazy Daisy \u00e0 Sheffield, o\u00f9 elles dansaient. Aucune des deux n’avait chant\u00e9 professionnellement auparavant. Oakey les a r\u00e9p\u00e9t\u00e9es pendant des mois.<\/p>\n

Dare a \u00e9t\u00e9 enregistr\u00e9 aux Genetic Studios dans le Berkshire avec le producteur Martin Rushent en 1981 et sorti en octobre. Rushent a apport\u00e9 une programmation LinnDrum plus serr\u00e9e et un instinct pop que les premiers albums de The Human League avaient tenu \u00e0 distance. \u00ab\u00a0The Sound of the Crowd\u00a0\u00bb, \u00ab\u00a0Love Action (I Believe in Love)\u00a0\u00bb et \u00ab\u00a0Open Your Heart\u00a0\u00bb ont construit la course dans les charts britanniques pendant l’\u00e9t\u00e9. \u00ab\u00a0Don’t You Want Me\u00a0\u00bb, un appel-r\u00e9ponse entre Oakey et Sulley, un ouvrier d’usine et une actrice au bord de la rupture, \u00e9tait le dernier titre de l’album et n’\u00e9tait pas cens\u00e9 \u00eatre le single principal. Il a atteint le num\u00e9ro un britannique le jour de No\u00ebl 1981 et a ensuite domin\u00e9 le Billboard Hot 100 \u00e0 l’\u00e9t\u00e9 1982. La coupe de cheveux, les deux filles, la Linn drum et le clip narratif sont devenus indissociables de l’image de la pop britannique du d\u00e9but des ann\u00e9es 1980.<\/p>\n

Fascination! (1983) et Hysteria (1984) ont continu\u00e9 la course aux singles ; \u00ab\u00a0Mirror Man\u00a0\u00bb et \u00ab\u00a0Keep Feeling (Fascination)\u00a0\u00bb ont construit le public am\u00e9ricain. Crash (1986), enregistr\u00e9 \u00e0 Minneapolis avec Jimmy Jam et Terry Lewis, qui travaillaient simultan\u00e9ment avec Janet Jackson, leur a donn\u00e9 \u00ab\u00a0Human\u00a0\u00bb, encore un num\u00e9ro un am\u00e9ricain. Le vernis de production R&B \u00e9tait un virage am\u00e9ricain d\u00e9lib\u00e9r\u00e9 qui a fonctionn\u00e9 commercialement mais a l\u00e9g\u00e8rement d\u00e9coll\u00e9 le groupe de sa base de cr\u00e9dibilit\u00e9 post-punk.<\/p>\n

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Romantic? (1990) est arriv\u00e9 quand le moment synthpop initial \u00e9tait pass\u00e9. Octopus (1995), Secrets (2001) et Credo (2011) ont suivi \u00e0 des intervalles plus longs, trouvant des publics moins nombreux que ceux de Dare mais constants. Oakey, Catherall et Sulley sont rest\u00e9s le visage public sur tous ces disques. Heaven 17, qui avait produit \u00ab\u00a0Temptation\u00a0\u00bb (1983) et leur propre bonne s\u00e9rie de singles, faisait parfois l’objet de comparaisons ; la s\u00e9paration entre les deux groupes est rest\u00e9e cordiale en public.<\/p>\n

Les deux disques qui comptent le plus dans toute discussion sur l’influence de la pop \u00e9lectronique sur ce qui a suivi sont Reproduction, pour le mod\u00e8le coldwave, et Dare, pour la preuve qu’il pouvait porter une m\u00e9lodie et toucher un public grand public. Depeche Mode, New Order, Yazoo et Erasure ont suivi la direction pop de Dare plus que celle de Reproduction. La diff\u00e9rence entre le Human League d’Oakey et le Depeche Mode de Dave Gahan est en partie une question de th\u00e9\u00e2tre : les filles, les coiffures et l’histoire d’origine de Sheffield donnaient \u00e0 The Human League un r\u00e9cit pop que la musique \u00e9lectronique manquait souvent.<\/p>\n

Les groupes synthpop venus plus tard dans les ann\u00e9es 1980 ont souvent liss\u00e9 la tension entre machine et voix que les premiers disques de The Human League maintenaient d\u00e9lib\u00e9r\u00e9ment brute. Cette rugosit\u00e9 originale, encore audible sur \u00ab\u00a0Being Boiled\u00a0\u00bb et les titres de Travelogue, est ce qui relie les enregistrements Fast Product \u00e0 la sc\u00e8ne de la musique industrielle et distingue le groupe d’avant la s\u00e9paration de la formation polie de Dare.<\/p>\n

Commencer par Dare : il tient comme un album de bout en bout et l’instinct pop est direct. Ajouter \u00ab\u00a0Being Boiled\u00a0\u00bb et le mat\u00e9riau Fast Product pour la version froide avant l’arriv\u00e9e de la machine \u00e0 hits. Crash montre jusqu’o\u00f9 Oakey \u00e9tait pr\u00eat \u00e0 voyager pour un autre num\u00e9ro un. \u00ab\u00a0Don’t You Want Me\u00a0\u00bb reste l’un des num\u00e9ros un britanniques les mieux construits de la d\u00e9cennie : r\u00e9cit, s\u00e9paration vocale distincte, patience de la boite \u00e0 rythmes.<\/p>\n

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