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Miss Kittin article

Simplistik

TRIBE Member
I just saw a short article on Miss Kittin on audiogalaxy if any of you are interested.


Miss Kittin
by David Mo
4.1.2002


They say there's an Eighties revival on. If that turns out to be more than a media-contrived mirage, I'd like to congratulate Miss Kittin for pretty much raining on everyone's parade. Because, while Mods in skinny ties gyrate to revival New Wave and dancefloors bump to faux-cheese House homage, Kittin's dry husk vocals show off a side of Eighties culture that a lot of these closet Renaissance Fair kids would rather ignore. Kittin, armed with loads of irony and a deadpan that would turn Peter Sellers green, skewers the self-absorption, soulless vanity, hyperconsumption and celebrity obsession of the Me decade.

"Kittin now delivers two very different albums, with two different production partners."
Having appeared on one of the flagship bits of the supposed revival, Felix Da Housecat's Kittenz and Thee Glitz, Kittin now delivers two very different albums, with two different production partners. On both albums, the music is notable mostly for its synths-and-drum-machines simplicity, though each producer has his own take on their synth-pop inspirations. Kittin's contributions are what make them both truly worthwhile, reflecting smartly on both the music and the time that spawned it.

At one end of her personality is First Album, in collaboration with programmer The Hacker. The cover's murderous vignette neatly sums up the bleak, gothic tone within. The pulsating beats are mechanical and cold, less likely to be mistaken for Yello than Bauhaus. Tracks like "1982" and "Frank Sinatra" are hilariously cynical, chronicling glamorous nights on the town without a hint of zest or passion. "To be famous is so nice. Suck my dick, kiss my ass," she demands on "Sinatra," obviously getting nothing from the demand of subservience or the acts themselves. Here, Miss Kittin plays the ultimate art-damage casualty, a jet-set corpse droning through life one martini at a time. First Album, while not uniformly dark, is definitely not "dance."

Producer Golden Boy, on the other hand, has populated or with glammy, melodic, often energetic beats. Even here Kittin is too cool for school, a snide bitch smoking Carelias in a corner booth and making fun of all the little people out on the dancefloor looking silly. Everyone hates her, but her running commentary is sharp: "What do you think of this track? Here comes another break…" But then again, the propulsive, pretty "Rippin Kittin" showcases both Kittin's genuine singing ability and the provocative question: "Mommy, can I go out and kill tonight?" First Album may be better as a whole, but this song is the only moment when irony most convincingly cedes to art, when both Kittin's icy detachment and the mechanical music she shields herself with mingle in the perfect balance of self-conscious critique and genuine enjoyment.


Were they (kittin & the hacker) not supposed to make an appearance in T.O. around the end of March?
I'd love to see them again, I had a great time at the neon party in MTL.

Peace
 

Destro Sanchez

TRIBE Member
Ya,
in the gigolo newsletter it said they were sked. for toronto on march 30 (wintergalactic????)

never saw a flyer if they were here!!

Destro
 
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