I remember very well that many years ago I was definitely a fan of Ladytron’s music, but every time I checked with my acquaintances it seemed that, at least in my circle of contacts, I was the only one to know this band. This is just to say that in my opinion, these guys from Liverpool have never achieved the success and popularity that they deserved, at least outside the boundaries of the English electronic scene. As a matter of fact, their music has always been truly original and unique: not only they crafted a brilliant mix of many different styles of electronic music (electro-pop, synth-pop, EDM, darkwave) but they also managed to give to it a nice retro feeling.
Year after year, I slowly lost sight of the band and, to be honest, I was fairly surprised when I discovered that they were still active and that there was a new record on the shelves. Investigating a little deeper I realized that it was not just my fault if I lost track of Ladytron since the band had effectively entered a period of hiatus after their 2011’s album Gravity the Seducer. Their new LP, which is named after the band, basically signs their official comeback after many years of silence.
For everyone who was already a fan of Ladytron’s music, the new album doesn’t bring any dramatic change or surprise, if not perhaps for the fact that the atmospheres are, at times, a little gloomier than what we had in Gravity the Seducer. In this respect, Ladytron may appear at first sight as closer to the early works of the band rather than what they were playing before the hiatus. At the same time, however, the new songs lack the impetuousness and abrasiveness that characterized the first phase of their career. This is compensated by an increased maturity of style, and an overall sense of elegance that clearly reflects the fact that in these years the musicians have grown, not only musically.
For those who don’t know the band or missed their golden age, which for me is the period included between 2002’s Light & Magic and 2005’s Witching Hour, it’s sufficient to know that this music is absolutely different from anything you heard until today: a fascinating interpretation of electro-pop which mixes delicacy and aggression, angelic voices and engaging rhythms.
Ladytron is not the best LP of the band’s discography, but it’s still an appreciated comeback from a group of musicians who wrote an important page in the history of UK’s electronic music.
My overall rating for the LP is 7/10. In my opinion, the LP suffers the unbalance between the most beautiful songs (Deadzone, The Animals, The Island, Far From Home), and those tracks which seem less effective and particular.
Songs from Ladytron are featured in ELECTRO POP (the playlist with the best electro-pop songs of the last couple of years) and also in The ELECTRONIC MUSIC Radar, which is the selection of the best electronics songs released in 2019. Enjoy!