{"id":6763,"date":"2025-11-15T16:00:00","date_gmt":"2025-11-15T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/dare-human-league\/"},"modified":"2026-11-09T07:14:48","modified_gmt":"2026-11-09T06:14:48","slug":"dare-human-league","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/albums-fr\/dare-human-league\/","title":{"rendered":"Dare – Human League"},"content":{"rendered":"

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Synth-pop de Sheffield 1981 : Oakey, Sulley, Catherall, Don\u2019t You Want Me<\/h3>\n

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The Human League sort Dare<\/em> au Royaume-Uni le 16 octobre 1981 sur Virgin, apr\u00e8s une scission qui aurait pu tuer le groupe. Martyn Ware et Ian Craig Marsh partent fonder Heaven 17 ; Phil Oakey reconstruit. Il recrute les adolescentes Susan Ann Sulley et Joanne Catherall, rep\u00e9r\u00e9es sur une piste de danse \u00e0 Sheffield, garde Philip Adrian Wright pour les diapositives et quelques synth\u00e9s, ajoute Ian Burden aux claviers, puis Jo Callis (ex-Rezillos) en avril 1981. Le producteur Martin Rushent d\u00e9place les sessions des Monumental Studios partag\u00e9s \u00e0 Sheffield vers ses Genetic Studios \u00e0 Reading. Entre mars et septembre 1981, les d\u00e9mos deviennent un album pop clair et s\u00e9quenc\u00e9, b\u00e2ti sur du mat\u00e9riel Roland, une LinnDrum et des accroches que la radio de jour peut passer. Sulley et Catherall reportent leurs projets d\u2019universit\u00e9 pour finir le disque.<\/p>\n

L\u2019ouverture The Things That Dreams Are Made Of<\/em> \u00e9num\u00e8re des plaisirs de consommation sur un rythme synth\u00e9tique lumineux. Open Your Heart<\/em> et The Sound of the Crowd<\/em> montrent une pulsation dance avec de la r\u00e9serve britannique ; le second \u00e9tait d\u00e9j\u00e0 un Top 20 UK au printemps apr\u00e8s les premiers r\u00e9sultats Genetic. Love Action (I Believe in Love)<\/em> grimpe \u00e0 la 3e place en ao\u00fbt et confirme que le nouveau lineup peut vendre sans le duo fondateur. La production de Rushent laisse chaque partie audible : batteries serr\u00e9es, lignes de synth\u00e9 entrelac\u00e9es, baryton d\u2019Oakey et voix des deux femmes devant. Les titres sont faits sur machines et ils se vendent encore sur le drame entre les voix. Le titre de cl\u00f4ture Don\u2019t You Want Me<\/em>, duo sur la c\u00e9l\u00e9brit\u00e9 et le ressentiment qu\u2019Oakey jugeait le plus faible du disque, est impos\u00e9 par le cadre Virgin Simon Draper comme quatri\u00e8me single contre l\u2019avis d\u2019Oakey.<\/p>\n

Ce choix refait l\u2019ann\u00e9e. Sorti fin novembre avec un clip de Steve Barron, Don\u2019t You Want Me<\/em> devient le num\u00e9ro 1 de No\u00ebl 1981 au Royaume-Uni, tient cinq semaines en t\u00eate, puis sommet du Billboard Hot 100 aux \u00c9tats-Unis. Dare<\/em> lui-m\u00eame atteint la 1re place du UK Albums Chart (entr\u00e9e le 24 octobre, sommet la semaine suivante, retour en t\u00eate d\u00e9but 1982) et finit triple platine en Grande-Bretagne. Les photos de Brian Aris fixent la coupe asym\u00e9trique d\u2019Oakey et les deux chanteuses comme une marque visuelle autant que vocale. Heaven 17 garde l\u2019autre moiti\u00e9 de l\u2019exp\u00e9rience \u00e9lectronique d\u2019origine. Dare<\/em> rejoint le grand public.<\/p>\n

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\n

The Human League ont fait un disque qui sonne comme le futur, brillant, froid et totalement original.<\/p>\n<\/blockquote>\n

(Mark Ellen, Smash Hits, 1981)<\/em><\/p>\n

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Dare<\/em> devient un mod\u00e8le pour la prise de charts du synth-pop britannique et pour le League men\u00e9 par l\u2019image d\u2019Oakey. Plus tard, des critiques lient Don\u2019t You Want Me<\/em> \u00e0 la Second British Invasion sur MTV. Apr\u00e8s la scission, le sauvetage est devenu une preuve multi-platine que les synth\u00e9tiseurs pouvaient tenir le num\u00e9ro 1 de No\u00ebl et un mod\u00e8le de production que les groupes de l\u2019\u00e8re Rushent ont continu\u00e9 de citer. Des titres comme Seconds<\/em> et Darkness<\/em> gardent un bord plus froid sous les hits, donc l\u2019album ne sonne jamais comme un simple paquet de singles.<\/p>\n

The Sound of the Crowd<\/em> porte la clart\u00e9 Genetic. Le duo final est celui qu\u2019Oakey voulait enterrer. Rushent a mis peu de chaleur. La pop \u00e9lectronique de Sheffield a quand m\u00eame rempli les salons \u00e0 travers la Grande-Bretagne. En 1981 la suite est simple : reconstruire le groupe, garder les machines et laisser le drame dans les voix.<\/p>\n

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