"An hour or two later, Felix called me and played me Kittin singing my words," he says. They played the instrumental track to Lorello over the phone, who wrote the lyrics and emailed them back. "She pulls out The Flirts record and goes to the outro and finds the sample which became the main sample of 'Silver Screen,'" says Lorello. They then went straight to Hervé's studio in Geneva to work on music. met Miss Kittin for the first time when they played at a festival in Switzerland. You don't know who Miss Kittin is?' And he was like, 'No.' And I'm like, 'Oh, this is the best record out right now.'" He says to me, 'Who is singing on this record?' And I was like, 'It's Miss Kittin. "I was playing Miss Kittin & The Hacker's 'Frank Sinatra' and Felix comes running into the booth. During intensive listening sessions, they cycled through early electro, freestyle, breakdance, new wave and disco, and toured the Midwest as DJs together. After release issues blighted Stallings Jr.'s underappreciated I Know Electrikboy record as Thee Maddkatt Courtship, Lorello suggested they fully embrace the '80s on his next album.
Lorello and Felix Da Housecat, born Felix Stallings Jr., were working on music together at the time, having met by chance in a record store Lorello worked at in Atlanta. "But no one had taken that and done anything that could have really connected with the mainstream." "It felt like there was something coming together," he told me. Tommie Sunshine, AKA Thomas Lorello, was among the DJs championing early electroclash records in the US, which included music by the likes of I-F, ADULT. DJ Hell and his International Deejay Gigolos Records presided over electroclash in Europe, while across the Atlantic, a burgeoning scene nudged Williamsburg, Brooklyn, towards its "Little Berlin" title. The best electroclash, however, was inherently aware of its own silliness, wearing its stylistic excesses with tongue firmly in cheek. "You could make your own generic electroclash record by talking blankly in a vaguely European accent about taking cocaine at fashion parties over the bassline from 'Sweet Dreams' by the Eurythmics," wrote Dorian Lynskey in The Guardian in 2002.
What sounded thrilling to young ears was less impressive to those who'd lived through new wave. Rewind is a review series that dips into electronic music's archives to dust off music from decades past.Įlectroclash was mocked-and revered-when it emerged around the turn of the millennium.
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