Elektro joins EMI in celebrating its Electrospective series, which pays homage to electronic music’s long, storied history. We’re continuing our guided tour through EMI’s massive 600-plus album catalog; our hand-picked recommendations are sure to open your eyes to artists and tracks that inspired the stars of today’s scene.

Scissor Sisters is unquestionably one of the most fun dance-pop acts in music today. Shamelessly energetic and happily hedonistic, the group sings about sex, love, wild nights on the dance floor... and, sometimes, all three at once. The group's four albums span a range of dance sub-genres, with a little bit of 70s-era glam rock thrown in for good measure; they even recruited Elton John to play piano on the 2006 track "I Don't Feel Like Dancin'." Their 2012 album Magic Hour is the best yet: there's even more piano work on "Baby Come Home," a bit of reflection on the Calvin Harris-produced "Only The Horses" and the sexy, strutting beats of "Keep Your Shoes On" and "Let's Have A Kiki."

Scissor Sisters frontman Jake Shears has long called the U.K. the group's "spiritual home," so it's only natural to hear echoes of one of Britain's best musical exports – the dance duo Goldfrapp – in their music.

Goldfrapp probably isn't an unfamiliar name: the group's single "Ooh La La" was an international success, and the 2010 track "Rocket" was remixed by Tiesto. But there's much more to the talented British pair, comprised of Alison Goldfrapp and Will Gregory. The unique combination of Gregory's punchy production skills and Goldfrapp's sultry vocals on 2003's Black Cherry broke new ground for electronic music. Like the Scissor Sisters did not long after, Goldfrapp perfected the balance of synths and sensuality on "Strict Machine," one of Black Cherry's standout tracks. "Train" and "Twist," two of the more uptempo tracks on the album, use the same formula to great effect. Though the Black Cherry as a whole runs at a slightly slower pace than most Scissor tracks, the sexy, funky, cheeky influence is undeniable.


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