Ladytron
Before their seven-year hiatus, Ladytron made their mark as one of the pioneering electro-pop bands of the new millennium. From Lady Gaga’s provocative dance-pop to Charli XCX’s brash, sweet-yet-tart anthems, the Liverpool four-piece paved the way for today’s more daring pop acts with their steady, synth-driven songs. On their self-titled sixth LP, they deftly integrate themselves back into the landscape they helped design by tweaking new sounds—ABBA-inspired throbbing disco beats (“Tower of Glass”); eerie, horror-film modular synths (“The Island”)—into their propulsive krautrock grooves. Helen Marnie and Mira Aroyo’s ominous vocal interplay still packs a dual punch on “Until the Fire,” an atmospheric rocker rife with dark political undertones.
A dystopian band for dystopian times, Ladytron return with an angry, pitiless, evil-sounding record whose nihilism presents them as sirens of the apocalypse.
For fans of Ladytron's icy yet sleek sound, their eponymous sixth album marks a welcome return.
After almost 20 years of playing it cool, Ladytron’s new, uncharacteristic restlessness suits them their sixth album 'Ladytron'.
The Liverpool band – now based all over the world – return with a synth stomp of protest at our times