Electroclash

The Electroclash is a Musical genre which developed mainly thanks to German and French artists, at the end of the Nineties, beginning of the year 2000, on labels underground, in particular International Gigolo Records created with Munich in 1996 by the German DJ Hell and the Marseillais David Carretta.

Origin

The paternity (and the property) of the term Electroclash return to Larry Tee, organizer and contractor of the festivals éponymes on New York at the beginning of the decade, which gathered artists like Chicks one Speed, Fischerspooner, Adult., Peaches or Ladytron.

It is the international press which made of this name of demonstration a musical genre. Nevertheless, the little of coherence between the various judicious artists to belong to this kind lets think that the electroclash is more one journalistic label and a blow marketing, that a real subdivision of the electronic music. Nothing is lost, nothing is not created, the electro-clash draws its sources near the futuristic currents of the beginning of the century, of the Asian and African musics, electroacoustic (Karlheinz Stockhausen or Pierre Henry). The techno always had its underground resistance . Then come to be grafted the other influences Italo Disco with the Giorgio Moroder definitively directed dancefloor.

Influence techno, disco music and pop

The electroclash is very schematically the meeting of sonorities Techno, pop, Disco, the new wave, EBM, the New Beat resulting from the eighties. It comes out from it from the productions mainly to the pop and disco music-pop format, hammered thehappy one, intended for the dancefloor, but with words less hedonists and a darker environment compared to the traditional House.

Influence rock'n'roll and punk

The electroclash however is mainly marked by a spirit Rock and Punk, from where the association of the word Clash to the word Electro, in reference to the punk group: The Clash. Combined with intrumentations and the electro arrangements created with machines and synthetizers, the electroclash directly borrows the ingredients of the rock'n'roll, the punk-rock'n'roll and the glam-rock'n'roll: use of the guitars, the percussions and synthés the vintage, of the voices irritated, vociferating, or icy, disillusioned, an energy (relatively) destroying, words and an attitude dark and provocante, tortured, and a second obvious degree.

Shifted and declining universe

The music is associated with a setting in adequate scene:

DJ Hell is the first long DJ to be presented in costume and hair, since 1995. The small pocket of its album Munich Machine resembles a poster of briskly gangster and adventurous western miteuse mixing.
the first small pockets of Miss Kittin show it as an unhealthy nurse with the feet of The hacker which poses a such serial killer, or simply posting a tattooing on an image very the Eighties. It also takes again 3rd sex, a song of Indo-China on the tone of a Comptine for child, and launched his career while singing that Frank Sinatra had died.
David Carretta posts a look with the Giorgio Moroder, but version glam trash, costume of gangster on pink bottom for example. Its visual and its pieces contains references of science fiction of the Seventies.
Tiga poses a such god pop dandy of the Eighties, small descendant of Duran Duran or David Bowie.

Associated Artists

In short, the electroclash is what the listener will find of commun run to the following artists and groups: Add NR to (X), Adult., Fischerspooner, Chicks One Speed, Crowdpleaser, Terence Fixmer, Felix da Housecat, Tiga, codec & Flexor, Swayzak, Black Strobe, To spoil, Golden delicious Servant boy, Goldfrapp, Martini Brös, Audio-mastick, Potential Fan, Which occurred D…

It is advisable to specify that the discography of these artists is not completely comparable to the électroclash .

In France, one can quote groups like Sexy Sushi and Exchpoptrue, Vitalic, Miss Kittin & The Hacker, David Carretta…

The electroclash developed in a universe strongly underground, just like the beginnings of punk, and the beginnings of the techno. But its side glamor and involving associated with the return of the rock'n'roll could extremely well leave the actors the shade. Canadian Tiga and French Vitalic already put themselves to sell more discs than the remainder the electro one. And of new groups appear by creating the event such as the Infadels.

The electroclash, English word, are often written in French: " electro-clash" , one also speaks about disco music-trash (or discotrash), since this Electro borrows largely from the disco music, and pours in the trash.

Transitory or syncretic?

During its media explosion, its futile aspect and frankly simple kitch, its agreements, and its stressed and monotonous voices, and the multiplication of discs in this same style will make that the electro-clash will be disavowed even a little by its initiators. Them which had launched this way of doing in a very spontaneous way, four or five years before.

This explosive cocktail makes actually the synthesis of these last decades. The only way of creating seems to be to recycle the past, on a tone of derision, and either a furious desire for moving, or of environments menaçantes or depressive.

This " musical" trans-kind; reconcile finally the various tribes: in the Nineties, the rock'n'roll had become terribly obsolete, one did not carry more Jean, nor the long hair, while the modernity of the techno, the refinement the electro one, sometimes associated with the nostalgia of the disco music funk, was with the front of the scene, the quite short hair. The appropriate dresses the most distinguished resembled behaviors of warriors of the cities (urban warriors) inspired by the sobriety of the design and the Web design and the news technological.

The electroclash thus arrives at counter-current by exhuming the vestiges of last and by associating them very naturally with recent sonorities resulting from technology.

Although much thinks that the electro-clash is only one fashion moreover to consume quickly, there is extremely to bet that the electro-clash does nothing but start, even if it changes name, tendencies, and ramifications meanwhile. Quite simply because to make music only with acoustic instruments or only with synthetic or virtual instruments, seems very limited, compared with the possibilities that their association offers.

It is probable that thanks to the progression of the microprocessing equipment, and the improvement of the machines and the software, this acoustic association/machines becomes so natural in studio or on scene, that it is not necessarily any more named.

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