The 37 Greatest Electroclash Songs of All Time – Warungku Terkini
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25.
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The Rapture: “Olio” [2003]
Purists rejoice: This is the first and last time James Murphy’s name appears on this list. His LCD Soundsystem arrived at a time and place of rapid genetic drift, but it was another bunch of DFA signees who fused all those disparate strands of DNA. “Olio,” the deliciously nail-biting opener from the Rapture’s 2003 debut, Echoes, actually dated back to 1999, albeit in a different incarnation—lo-fi, Siouxsie-esque goth rock. Like a renegade Professor X, Murphy exposed their cells to acid house and even traces of Balearic beat, creating the mutant missing link between electroclash, dance punk, and garage revival. –Walden Green
Listen/Buy: Amazon | Apple Music | Spotify | Tidal
24.
Crystal Castles: “Alice Practice” [2006]
“Crimewave” caught on with TikTok teens first, but in “Alice Practice,” you really get a sense for Crystal Castles’ degraded witchcraft. Frazzled arpeggios fly, bass pulses madly, and Alice Glass cries about “sad eyes like sharpened daggers.” The duo’s style emphasized the genre’s malfunctioning, bloodied emo side more than sexual depravity. As the legend goes, the vocal take was an accidentally recorded warm-up; a decade later, in a statement accusing Ethan Kath of years of physical and sexual abuse, Glass said the “Alice Practice” story was invented to diminish her role and exploit her insecurities. The brilliance of Crystal Castles is inseparable from the horror, which looms over the thrilling new language they wrenched out of gross, broken machines. –Kieran Press-Reynolds
Listen/Buy: Amazon | Apple Music | Spotify | Tidal
23.
Green Velvet: “La La Land” [2001]
Like every other fucking trend, electroclash was a blindingly white movement built on Black geniuses—in this case, Curtis Alan Jones. As Green Velvet, he made “Flash,” an enduring ’90s techno masterpiece, and then followed it up with his biggest hit, “La La Land,” an evisceration of the city of dreams. Its mid-tempo swagger was dry as Death Valley. Its percussive bridge was the kind of ground LCD Soundsystem made a mint strip-mining. And its lyrics, spat with a lysergic fury twisted by mind-bending effects, were no tribute to the kids who sang along with them. “Has anyone seen my brain today,” Jones jeers. Not within city limits. –Jesse Dorris
Listen/Buy: Apple Music | Spotify | Tidal
22.
Uffie: “Pop the Glock” [2006]
I love Fcukers, and whenever I think about the strange cultural soup that could bring us something so amazing as a former indie-folk singer (Shanny Wise of the Shacks) singing in a fake patois baby voice, I think about the godmother of electroclash, Uffie. “Pop the Glock” is the apotheosis of Vice-era raceplay—the whole concept is: Can a French girl named Anna-Catherine get gangsta for a second?—and it has a weirdly transcendent power even today. Here’s a track with basically no percussion and a uniquely faltering, unreliable melody that sells its central thesis—that a French girl named Anna-Catherine can get gangsta for a second—on nothing but a listener’s own willingness to let her. She doesn’t even sound that convincing, but maybe that’s the grand trick of electroclash: Minimum effort masquerading as maximum effort masquerading as minimum effort. –Shaad D’Souza
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