Erol Alkan on ‘Sleaze’ in ’00s electroclash
When the millennium turned, the world of music was buzzing with a specific kind of energy—a collision of garage-rock revival, electroclash, and new rave. At the heart of this seismic shift was the dancefloor, and Erol Alkan was right there, navigating the wild waters of club culture. Now, two years after he compiled his oral history of this electric era, Alkan is gearing up for a major London anniversary show, reflecting on the magic of scenes like Bugged Out and Trash, and how that energy still pulses through today.
Alkan recently emerged from dedicating two years to writing Trash: A Club, A Sound, A Home. This book is a deep dive into the world of those unforgettable clubnights, meticulously compiled from 70 hours of interviews with 39 figures who were on stage and behind the decks in the 2000s. It’s a rich tapestry woven with Alkan’s personal memories and reflections on the scene that defined the turn of the century.
Trash itself was a legendary fixture, rooted in Soho before moving to the West End. It became legendary for its eclectic mix, earning a nod from NME, which once described it as “the greatest indie crossover disco of all time.” Alkan’s approach was to celebrate the glorious chaos, allowing sets to skip gleefully from punk to pop via rock and disco, creating a space where electroclash could thrive as a genuine, untamed movement.
This scene was fertile ground for some of the era’s most influential acts, including Yeah Yeah Yeahs, LCD Soundsystem, Peaches, Scissor Sisters, Bloc Party, and Klaxons.
Alkan described his process as almost scientific: finding the connections between diverse sounds, moving gently from one record to the next while maintaining a musical clarity. He saw the process as telling a story, weaving together disparate elements—like a moment featuring The Strokes and The White Stripes—to redefine the perception of indie culture.
But the real lesson Alkan imparted was about presence and risk. He reflected that when alternative culture was in flux, the focus should not be on absolute loyalty. He argued that trying to hold onto everyone is impossible; you have to be prepared to challenge people. The ultimate goal, he stated, is to lead people, not just please them. This philosophy extends beyond the dancefloor, touching on how we navigate public life.
Looking back at the era’s label, ‘indie sleaze’, Alkan offered a thoughtful perspective. While he didn’t personally favor the term, he recognized that language is constantly redefined. He observed that the connotations of that word have evolved, rooted more in the specific, colourful, and often American-adjacent scene of the late 2000s, rather than the broader, more eclectic reality of the time.
Despite the digital age’s pressures—where the fear of being filmed in public has led some to retreat—Alkan found resilience. He was grateful for the freedom that modern clubbing offers, appreciating that people can now enjoy the experience without the intense fear of being judged by strangers. He acknowledges the heartbreaking reality of modern policing, yet finds solace in the fact that many people still carry that sense of freedom.
As Alkan prepares for his upcoming line-up at London’s Drumsheds, alongside titans like 2ManyDJs and The Avalanches, he is not looking to simply recreate the past. Instead, he wants to tune into the current energy, ensuring that the moment is defined by the people currently doing valuable and relevant work, rather than just nostalgia. It is a testament to the enduring power of music and the spirit of fearless creation.
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