Special Deluxe 2CD Edition. The pioneers of the decades revival of synth-based electro weigh up their 10 years of artistry against the current landscape. The narrative of the past decade of electronic music would not be complete without a chapter on Ladytron although the Liverpool-born quartets global fanbase would argue that the band wrote the book on it. Consistently placing songcraft and innovation over any confining aesthetic, the foursome of Daniel Hunt, Reuben Wu, Helen Marnie and Mira Aroyo fashioned four albums of deliriously buzzing, whip-smart electro-pop that have kept them ahead of the curve, apart from the fads and in a league of their own. Weve never fit into one scene, never adhered to one set of rules and never wanted to create anything that was already accepted or in the mainstream, says Wu now, reflecting on a decade highlighted by principal releases 604 (2001), Light & Magic (2002), Witching Hour (2005) and Velocifero (2008). Those albums, surveyed on the career-spanning Best of Ladytron: 2000-2010, reflect the quartets deftly executed (and delightfully subversive) dualities: primordial grooves vs. lushly layered synths; sanguine melodies vs. shimmering atmospherics; and art-house detachment vs. the poignant narratives delivered by dueling sirens Marnie and Aroyo. Ladytron has created a body of work that reveals a fresh creative arc and, as time has told, served as a reference point for a current crop of artists such as Lady Gaga, Goldfrapp, La Roux and Crystal Castles. The Ace of Hz video premiere has been scheduled to run with Spotify on 1st March. They will be supporting the exclusive with an impressive amount of promotion, including 2 million ad impressions, promotion across their social networks (850k Facebook fans, 75k Twitter followers), a blog mention (300k UMV) and their newsletter (over 1 million subscribers). Lead single Ace of Hz: plays across 6Music, XFM, Kerrang, BBC London and BBC regional; added to the D List at Q Radio Interview with NME confirmed to run week of release; Confirmed coverage in Clash and Sunday Times; Reviews confirmed to run in March issues of Q, Uncut, Attitude, Mojo, Rock Sound, Tillate
Hearing Ladytron for the first time was a beautiful shock. It was way back in the late 90s; a single, on a tiny label, called He Took Her to a Movie. This was a time when every British band wanted to be a third-rate Oasis and electronic music was consigned to a techno ghetto and was proudly digital. Then, out of the blue, a coldly witty, sexually ambiguous synth-pop record made with ancient analogue machines. The female vocal was detached and Krafterkian, the atmosphere soaked in sci-fi sensuality and a very early 80s, deadpan, art-pop existentialism. The most bizarre twist was that this group didn’t come from Düsseldorf or Sheffield, but Beatles and La’s-obsessed Liverpool. For once, the cliché ‘ahead of their time’ fits absolutely.
But although Ladytron have had to look on as the likes of Lady Gaga and La Roux stole their best moves and went supernova, Mira Aroyo, Daniel Hunt, Reuben Wu and Helen Marnie have done just fine on their own terms, overcoming endless record label problems and becoming a worldwide cult band, playing festivals and DJ sets until pop classicists from unfashionable places finally found their dark and sultry electro nuggets. They’ve worked with Christina Aguilera. They got name-checked on the Lost TV show. And they’ve earned this fabulous Greatest Misses collection in which the only flaw is the baffling omission of He Took Her to a Movie.
At their best – Destroy Everything You Touch, International Dateline, Seventeen, Discotraxx, Playgirl, Blue Jeans – Ladytron fit unforgettable melodies and doleful post-modern rock lyrics in a Bryan Ferry tradition to shimmering revivals of Giorgio Moroder disco and the melodramatically bleak end of 80s synth-pop defined by Visage and late-period ABBA. The two new tracks here – Little Black Angel and Ace of Hz – show an admirable refusal to change tack. In truth, none of their four albums has been consistently great, so this immersive and evocative no-filler collection immediately becomes Ladytron’s best album – at least until their Gravity the Seducer set arrives later this year.
Ladytron music has an effortless glamour and baleful poise, and is occasionally sung in Bulgarian. If you love synth-pop’s romantic attachment to a grand, bleak, European aesthetic, then this is the Best Of for you.
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