THIS IS RADIO ELECTROCLASH....

Before the "garage rock" revival began mid-2001, the sort of alternative bands who were successful were of the very ordinary variety: the tedious, meat-and-potatoes rock of Stereophonics, the whiny, insipid, piss-thin indie of Travis, and the equally whiny indie of Colplay. Introspective lyrics, easy on the ear melodies, and absolutely no balls. Words like "worthy", "crafted", "real music" were bandied about. In other words, boring. Where was the passion? The rebellious rock'n'roll spirit? Tucked between their legs in pursuit of a wider audience no doubt, writing songs that would get played on Radio's 1 and 2, music that would appeal to the older audience as well as indie-oriented students and teens. I'm not suggesting that every song should be packed with power chords and feedback - there's nothing wrong with quieter songs and introspective lyrics per se, but it can still be done with some passion and soul. Travis had actually started out with some promise - their debut single (and the only song of theirs i will listen to) was the slow burning indie rock of "All I Want To Do Is Rock" (for Rock read Fuck), which was a lustful tale of chasing a girl, with Fran Healy almost growling the lyrics in places. Stereophonics were an interesting prospect initially, their tales of smalltown life almost excusing the singers Rod Stewart-styled throaty voice. But these bands got more boring as their success grew. Travis had a lyric on one single about "the radio playing all the usual/and what's a wonderwall anyway?", a dig at the constant airplay of the earlier Oasis single, as if their effort was any more interesting than that dreary and tuneless supposed classic. Coldplay were even worse, and the description of them by Creation Records boss Alan McGee as "indie bedwetters" was entirely accurate. Their music and lyrics said and still says nothing.

As the garage rock revival was quietly growing underground, there was another wholly different but equally innovative scene emerging in smaller clubs here and abroad. A response to the formulaic "superstar DJ" culture that had took hold in the mid-nineties (think Fatboy Slim, Judge Jules, and clubs like Cream and Gatecrasher), Electroclash was sexy, irreverent, creative, and raw, using DIY production values and vintage synthpop and electro sounds, and was equally about artistic showmanship and style. Acts like Miss Kittin, Fischerspooner, Felix Da Housecat, Peaches, and I-F were synthesising punk values with techno and synthpop-influenced music. It was a largely fringe scene, with few records actually acheieving widespread success, although songs like Fisherspooners' "Emerge", "La La Land" by Green Velvet, and the eternally great "Silver Screen Shower Scene" by Felix Da Housecat & Miss Kittin managed to crack the Top 40. Two labels were largely responsible for sending these sexy, futuristic but somehow charmingly retro missives out to the record buying public: City Rockers and International Deejay Gigolos. I managed to get hold of two compilations from these two labels, and although i wasn't someone who went clubbing anymore, the sounds that i heard made me want to! It was a refreshing alternative to the staid and homogenised dance music i would hear on my rare nights out and when listening to the Top 40 countdown (i still tuned in most Sundays, in the hopes that some decent music would be played. It generally wasn't.) I couldn't understand why no-one was playing this stuff, and most people i spoke to were unaware of it. Eventually, it would become more well known for its influence on other artists, most of whom would be far more successful commercially: Goldfrapp, with their Black Cherry and Supernature albums, Kylie, Madonna, and the Electrohouse genre that came after. For a short time, this sleazy, witty, and creative alternative to mainstream dance offered a window into a different world before fading away, but not before leaving its mark on the minds and hearts of a few young souls , who would emerge a few years later with a similar sound...