miss kittin first appeared at bugged out in december 2001 as part of an international deejay gigolos party. playing live with the hacker she appeared stage right wrapped from head-to-toe in white swaddling bands which she eventually peeled off to reveal a black leather cat suit. her eye-line was sprayed black like pris from blade runner and she kept this startling make-up on for her ensuing dj set. she played skewed electro and techno concluding with prince's 'when doves cry'. both performances and her jaw-dropping sartorial choices proved a pivotal moment for both bugged out and the captivated audience. suddenly bald blokes with laptops didn't seem such an enticing proposition anymore...

we first heard of caroline herve in 1997 when bugged out's magazine jockey slut, came across miss kittin and the hacker's 'frank sinatra'. there weren't any techno records around at that time that derided the vacuousness of vip culture, featured a wickedly monotone female voice that demanded we lick her ass and laugh at the death of 'ol blue eyes' (who was still very much alive at the time). furthermore when we interviewed her miss kittin talked of how the "shitty serious world of techno needed a kick up the arse" and of including visage and new order in her sets long before it became fashionable to do so with the advent of electroclash.

her unique vocal delivery also entranced. she claimed she didn't really bother to find out whether she could sing properly so talked, with wayward intonation, through miss kittin and the hacker's seminal 'first album' (2001). felix da housecat also fell under their influence and found in miss kittin his perfect muse when he began recording what would become 'kittenz and thee glitz' (2001). their 'silver screen, shower scene' - which caroline saw as a continuation of the 'frank sinatra' theme - propelled her into the limelight.

shouting loudly into microphones in clubs across the world and playing to huge crowds at festivals strengthened caroline's voice and she began to sing to contrast with her much imitated deadpan style. this was not the only surprise on her 2004 solo album 'i com'. 'requiem for a hit' and 'happy violentine' were the big club hits but on it she also embraced electro-rock, miami bass, glitch-techno, kitsch-pop and even ballads.

djing is her first love though and remains her biggest thrill. she likens it to a game, "which record to play, how to play it." her technique is super confident and always surprising.