Kittin: It’s pretty unexpected, just like most of the things that have happened to me. And at the same time, it’s completely predictable because of the electro/EBM comeback we are currently experiencing. But on the other hand, five years ago, it would have sounded pretty ‘has been’! On a more personal level, I caught myself feeling quite emotional because since we made these tracks in The Hacker’s bedroom at his parents, it’s been quite a path.
The Hacker: It’s also cool to see that, after all these years, those tracks still sounds good. I’m pretty proud about that.

Kittin: This is Josh Cheon’s fault, to be honest! If Dark Entries hadn’t met The Hacker and asked him if we had spare tracks, we would have never remembered these old DAT tapes. Even if Dark Entries has existed since far before this current interest you mention, history is just a repetition, loops of influences. The Hacker and I are indeed children of the ‘80s, deeply inspired by New Wave pioneers of the late-‘70s and early-‘80s.
The Hacker: Yes, we have to thank Josh for that. Without him, those tracks would have been lost forever!

Kittin: I am not nostalgic by nature. I am much more interested in how artists digest their influences to create something new. We do talk a lot with The Hacker about specific memories because what we experienced as small town kids was truly extraordinary, but I don’t feel nostalgic about it. I’ve always pretty much lived in the present.

Kittin: I pass it on to The Hacker. He loves to talk about that!
The Hacker: I still use the SH 101, the MS 20 and the TR 808. For me, the big change happened six years ago when I skipped from my old Cubase to Ableton – I work so much faster now. If I have to choose one item that’s been here since the beginning, I would say the Korg MS20. It’s been in nearly every track. And the SH 101 also. For example, the track Upstart (in Lost Tapes 2) is made only with those two synths.

Kittin: Back then, I lived in Geneva. When we heard we would perform at Sónar, I had to think of a proper outfit – and I had zero idea. So I went to a shop where a friend of mine was working. They were selling all kind of stuff – sneakers, goth outfits, toys, and a few cheap costumes. I saw the nurse one and immediately thought it would be very visible on stage. And it was very cheap, probably less than twenty-five Swiss Francs.
It’s kind of scary how easy it is to use collective unconsciousness clichés. If I’d known, I would have thought of something a bit more elaborated. So when I hear people say I am in total control of my image, I laugh. In the end, it was probably a super great unconscious act because I do consider my job as nursing. When people go out, they like to be taken care of and loved, they want the performer to be in charge. I like that because if you do it with love and goodwill, you can do a lot of good for a huge amount of people at the same time. I can’t remember if we wrote the song The Nurse before or after that costume though. I like to think it inspired it.

Kittin: I am in good terms with Hell, I always was. I'm not sure I can work with him again, but we have eternal respect and affection for each other. I don’t really like to do remixes simply because I am a songwriter first. I am not a producer, really, certainly not as The Hacker is. I do music ‘sometimes’, when I have an idea. I am not good at doing club tracks either as a DJ. I am good at writing songs, stories. I am probably the only official ‘DJ/songwriter’ (laughs).
The Hacker: I can do remixes for anybody, but when DJ Hell asked me, I said yes, of course. We’ve had a really good relationship throughout the years, and I was really happy with this remix. It fits perfectly with the current new beat/EBM sound.

Kittin: It’s hard to remember, but I am mostly inspired by stuff I read and movies. I can hear or read a sentence, an expression, and write a story around it. It doesn’t mean I am a dark person. I like the aesthetic of it, I don’t like anything ‘hippy’ – flower power and shit. The Hacker is the same. And after all, I was writing things that had to fit with The Hacker’s music. I don’t think writing a song about sunshine and beach culture would have been very efficient.
The Hacker: Musically, at that time, I was rediscovering early-‘80s electronic new wave like early Soft Cell and Depeche Mode – and also a lot of EBM. I was trying to mix that with new stuff like Detroit electro (Dopplereffekt, Le Car, Adult, Drexcya, etc.), as well as a little touch of Italo disco. If you take all these elements, you have the early Miss Kittin and The Hacker sound.

Kittin: I agree. Less is more. One punch line is enough. I love that exercise.

Kittin: Bakalao was the very first kind of techno we heard in our local new wave club because a tour of Spanish DJs came by. We didn’t really like it, to be honest, but the club’s boss told me it was so successful that he started to book more DJs – and slowly, the club turned techno.
The Hacker: I remember this party in our city with all those Valencia DJs. It was in 1991 and the music was amazing. It was a mix of late EBM with techno, and even early hardcore. For a few years, this sound was amazing, but then, it became what they called ‘machina’ – and it was terrible, very commercial.

Kittin: I am soon releasing my next LP.
The Hacker: We will do some gigs together as DJs.

Kittin: Maybe, maybe not.
The Hacker: We’ll see.

Caroline: I recently saw a crazy live show in Moscow by Interchain. They’re two guys who could be sons of Liaisons Dangereuses. It was very punk, and old school, and super refreshing at the same time. They didn’t care!
The Hacker: Lokier. She’s very good, identified patient also, djedjotronic from France. The scene is pretty exciting right now; it’s a good period for music.