I love me some Giorgio Moroder. “The Chase” and “I Feel Love” are two of the finest chunks of dance music ever recorded, and I say this even after the time my dad and I were having dinner in the Castro at Rave Thai (not its real name) and upstairs at The Café they played an “I Feel Love” megamix that lasted throughout our entire meal. Actually, that was pretty much awesome, and gave my dad a good feel for what the Castro was all about (as did the dude who wandered by later with the loincloth and club ensemble). I miss Rave Thai.
I also love me some Sigillum S, who are considerably less famous than Moroder and Donna Summer. They’re a completely bent Italian group who started out as a bog-standard noise-industrial group haunting the fringes of the industrial cassette scene and have gotten weirder and wilder as the years have gone by. Their most recent album, 23|20 is an unclassifiable melange of industrial cabaret, arrhythmic dance music, and random hooting. I love it.
However, the combination of the two is horrible, albeit in a funny way. Back in 1989, the bright sparks at Misty Circles put out La Mort Heureuse, a compilation of mostly obscure industrial artists rapaciously violating the corpses of pop songs. They attain varying degrees of horrifying, transcendent badness, with the in-concept-only cover of “Like A Virgin” achieving some sort of benchmark for the loosest and most vile interpretation of Madonna that doesn’t involve death metal. I could fart out something better without trying at all, which I think was the point.
Sigillum S’s version of “I Feel Love” keeps the arpeggiated bass line, but that’s about it. The vocals wander in and of the rhythm, and don’t even have a conversational relationship with the melody. It’s totally ghastly, and I love it. But mostly it just makes me want to listen to the original again. So I think I will.