Check out Billboard's retrospective on electroclash — a sub-genre that fostered inclusivity, broke down the barriers of sexual freedom and changed the face of pop, dance and punk music.
in 2000, the genre was simply born out of a generation in desperate need of some new music. “This was a movement that was more about a collective consciousness than I think a lot of people are willing to admit of people who grew up in the early ’90s,” she says, “That particular generation of people was going to raves, and was listening to punk music, and was looking for a way — especially women and queers — to kind of flip the script and make their own music.
“Initially, I was just happy to have publicity period,” Spooner says with a chuckle. “There were times when audiences would be divided in real time in front of you; there would be some people that were really into it, and some people that really weren’t. I always felt like I was doing something right if half the room was confused or angry.”
Spooner, meanwhile, struggles with why exactly electroclash became a central hub of queerness in the early ’00s. “Maybe it’s just like the relationship to club culture and dance music and transformation?” he wonders. “Maybe because it was like a space where you could wear anything that you wanted and not really be judged? Honestly, I don’t know.”
Electroclash may be gone, but its influence over the musical zeitgeist 20 years ago created reverberations that are still felt in the music scene today. A key example is hyperpop, the rising sub-genre born out of the electronic pop experimentation of the late producer SOPHIE and A.G. Cook’s PC Music colllective.
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