autoKratz: Biography, Discography and More | EDM Encyclopedia

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Introduction

autoKratz are a London-based electronic music duo composed of David Cox and Russell Crank. Active from 2007 to the present, the pair have operated across both the UK and European electronic scenes, building a presence through consistent output and a hands-on approach to their career. Their first release arrived in 2007, with their most recent confirmed release dating to 2011.

The duo have released music through two primary channels. Early material found a home on Kitsuné Musique, the Parisian label known for its curatorial eye in the electro and indie dance space during the late 2000s. Later, Cox and Crank established their own imprint, Bad Life, giving them direct control over how their records reached audiences. This shift from a respected French label to self-releasing reflects a practical independence rather than any grand statement: the duo simply built the infrastructure to put out their own music on their own terms.

Across roughly four years of confirmed output, autoKratz maintained a steady work rate, producing multiple full-length ram records, an EP, and several singles. Their catalog favors directness and energy over extended ambient exercises or minimalist abstraction. The name itself, styled with a distinctive capitalization, signals the duo’s interest in blending mechanical precision with raw, vocal-driven attitude.

Genre and Style

autoKratz sit within the electroclash and broader electronic music spectrum, a space where distorted synths, punchy drum programming, and processed vocals collide. Rather than treating electroclash as a retro reference point, the duo treat it as a living framework: their productions layer gritty basslines under shouted or sung vocal hooks, creating tracks that function equally well in club sets and on headphones.

The electroclash Sound

The pair’s approach to composition prioritizes momentum. Tracks tend to move forward with a motorik insistence, building tension through repetition and subtle textural shifts rather than dramatic structural breakdowns. Synthesizer work favors sawtooth leads and acidic flourishes over polished pads, giving the music a serrated edge that separates it from the smoother end of contemporary dance music.

Vocally, Cox and Crank often deploy their voices as another rhythmic element rather than purely as a melodic lead. Chanted phrases and layered harmonies sit inside the mix rather than floating above it, reinforcing the integration between human and machine elements that defines their sound. The result is EDM music that feels assembled with intent: each component serves a specific function, and nothing overstays its welcome.

Key Releases

Albums:

  • albums:
  • Down & Out in Paris & London
  • Animal
  • RewerkZ #1
  • Self Help For Beginners

Discography Highlights

The duo’s debut album, Down & Out in Paris & London, arrived in 2008, establishing their signature blend of electroclash aggression and pop-leaning hooks. The year proved particularly productive, yielding two full-length efforts: Animal and RewerkZ #1, both released in 2009. Their most recent confirmed album, Self Help For Beginners, surfaced in 2011.

EPs:

In 2011, autoKratz issued Bad e life #1, an EP released through their self-titled imprint.

Singles:

The duo’s single output began with Reaktor in 2007, serving as their introduction to the electronic music landscape. Two further singles followed in 2008: 1000 Things and Pardon Garçon, both reinforcing the energy and directness that would characterize their longer-form work.

Collectively, these releases map a clear arc: from early singles on Kitsuné through multiple albums and eventually to self-released material via Bad Life. The catalog remains compact but focused, each entry adding a distinct chapter to the duo’s recorded history without redundancy or filler.

Famous Tracks

London duo David Cox and Russell Crank introduced their gritty electroclash sound to the scene with the 2007 single Reaktor. Built on rigid synth lines and club-ready percussion, the track laid the groundwork for their immediate future. They continued this momentum in 2008 with two distinct singles: 1000 Things and Pardon Garçon. Both recordings demonstrated a knack for blending abrasive electronic textures with accessible vocal hooks. This productive era culminated in the release of their debut album, Down & Out in Paris & London (2008). The record captured the pair’s raw energy, pairing thumping kick drums with distorted basslines that felt tailored for dark, crowded warehouses.

The years saw Cox and Crank expand their studio output without abandoning their core aesthetic. In 2009, they released the album Animal, which pushed their synthesizer programming into denser, more aggressive territories. Rather than resting on their laurels, they immediately put out RewerkZ #1 (2009) later that year, presenting reimagined versions of their existing material. By 2011, the pair delivered the album Self Help For Beginners, paired directly with the EP Bad Life #1. This 2011 EP not only added new tracks to their catalog but also represented a structural milestone: it was released on Bad Life, the independent record label founded by the band themselves.

Live Performances

Translating a heavily produced studio sound to the stage requires specific technical choices. As a duo, Cox and Crank approach their live sets by dividing duties between hardware synthesizers, drum machines, and vocal delivery. Instead of relying solely on a laptop to replay their tracks, they manipulate their equipment in real time, adjusting filters and triggering sequences on the fly. This hands-on methodology ensures that performances of their studio recordings feel spontaneous rather than strictly scripted.

Notable Shows

Their touring schedule has placed them in a variety of environments, from intimate club spaces to festival stages across the UK and Europe. Playing live allows the duo to stretch out their recordings, extending intros and breakdowns to suit the dancefloor. The interaction between the two members is a central visual component: Cox often handles the lead vocals and interacts with the crowd, while Crank drives the instrumental foundation. This division of labor creates a dynamic stage presence that separates them from standard DJ sets, grounding their electronic sound in a tangible, rock-influenced performance style.

A key nu aspect of their live presence involves the integration of their own label into their shows. By championing Bad Life, they often curate lineups that reflect their specific sonic palette. This curation allows them to build a cohesive atmosphere from the moment the doors open until their set concludes, giving audiences a complete auditory experience that matches the raw intensity of their recorded output.

Why They Matter

AutoKratz holds a distinct position in the British electronic music landscape of the late 2000s and early 2010s. During a period when many artists were moving toward cleaner, more polished electronic pop, Cox and Crank committed to a grittier, club-oriented aesthetic. Their discography provides a clear snapshot of the era’s independent electronic scene, bridging the gap between synth-punk aggression and danceable techno rhythms.

Impact on electroclash

A major component of their relevance is their early involvement with Kitsuné Musique. Releasing music through the influential French label positioned them alongside prominent international acts, helping to export their distinct British sound to a global audience. This partnership allowed them to reach listeners far beyond the London club circuit, establishing an international based purely on the strength of their studio output and remixes.

Furthermore, the creation of their own imprint demonstrates their commitment to artistic independence. Launching an independent label provided the duo with complete creative control over their future releases. This move from contributing to established labels to running their own operation reflects a broader trend of electronic artists taking ownership of their careers and establishing their own curatorial voices. By maintaining a consistent release schedule and building a self-sustaining platform, autoKratz proved that electronic duos could successfully operate as self-contained units, handling everything from production to label management.

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