autoKratz lend some electroclash edge to the pop template with the more dancefloor-oriented Always More. Similarly, Beni‘s Fringe Element is not altogether devoid of cheesiness, veering into funky house with perky ’80s hip-hop breaks and synthesised congas. Whilst it’s technically club music – with the electro trick of sounding like the music’s made by turning knobs rather than pressing buttons – it’s technically too uncool for 99% of clubs, seeing as it’s the aural equivalent of a puppy trying to hump your leg.
The tracks at the harder, more serious end of the spectrum still manage to incorporate commercial pop and funk elements: hence the Daft Punk point of orientation. We Have Band‘s Time After Time combines driving funk, rave and mashed up Eastern European vocals: it’s distinctly odd and yet totally accessible. Lifelike‘s remix of La Roux‘s In For The Kill replaces trebly ’80s synths with bubbly electro-funk, and the end result is one of those rare remixes which actually holds its own alongside the original.
Whilst Kitsuné�are uncategorisable by genre, this mix of hugely accessible commercial Euro-dance and more credible (and hugely diverse) source material probably stands as their unique selling point.
It’s not all plain sailing: Crystal Fighters‘ Xtatic Truth is hugely grating day-glo turbo-rave, The Golden Filter‘s Favourite Things comes over as a lightweight imitation of Simian Mobile Disco‘s Hustler; and two-thirds of the way in, the compilation descends into faceless techno, repetition of dumb-ass phrases over generic electro, and dull rave punctuated by unforgivable woops.
It’s fun while it lasts, though. Kitsuné’s acts are as unashamedly focused on pure entertainment as ever, while still retaining plenty of credibility and originality. James Murphy of LCD Soundsystem once claimed that he was losing his edge to the kids from France. The evidence suggests that he still might need to watch his back.