"Jonny Melton knew that his club night Nag Nag Nag had reached some kind of tipping point when he peered out of the DJ booth and spotted Cilla Black on the dancefloor. I think that's the only time I got really excited, he laughs. I was playing the Tobi Neumann remix of Khia's My Neck, My Back, too my neck, my back, lick my pussy and my crack' and there was Cilla, grooving on down."
"A former member of 80s goth band Specimen who DJed under the name Jonny Slut, he'd been inspired by a fresh wave of electronic music synchronously appearing in different locations around the world. Germany had feminist collective Chicks on Speed and DJ Hell with his groundbreaking label International DeeJay Gigolos. France produced Miss Kittin and The Hacker, Vitalic and Electrosexual."
"The lyrics tended to be witty, occasionally foul-mouthed and very camp. The sound had house music, techno, 80s synth-pop and electro in its DNA, but boasted a rough-hewn, punky edge, the latter partly down to attitude and partly down to the era's technological advances. It isn't like today, where you can take an idea to a playable version in five hours on a laptop, says Larry Tee, but you could record something releasable in your bedroom, you could get a Jun"
Jonny Melton launched Nag Nag Nag in London in 2002 and reached mainstream awareness when unexpected celebrities like Cilla Black danced at his nights. Melton previously performed with 80s goth band Specimen as Jonny Slut. The scene drew simultaneous reinventions of electronic music across countries: Germany hosted Chicks on Speed and DJ Hell; France produced Miss Kittin, The Hacker, Vitalic and Electrosexual; Britain produced Ladytron and Add N To (X); Canada produced Tiga and Merrill Nisker who became Peaches. Electroclash combined house, techno, 80s synth-pop and electro with witty, often explicit lyrics and a punkish attitude enabled by affordable home recording technology.
Read at www.theguardian.com
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