Velocifero [CD]

Once upon a time, electronic acts were routinely dismissed for fetishising sounds at the expense of musical substance. It's ironic, then, that Ladytron have written some of the best songs of the 00s while the 21st century rock'n'roll brigade, largely concerned with approaching various sonic blueprints from yesteryear, have rarely managed to pen anything memorable, let alone lasting.

Ladytron's latest strike Velocifero is their best so far: 53 minutes and not one weak track. The opening `Black Cat' appears to merge three distinct Dario Argento soundtracks into one: a gothic keyboard motif reminiscent of Profondo Rosso, the mechanic 80s beat of Tenebrae, and the stomach-punching synth drum accents of Suspiria. Wow.

`Ghosts' is essentially an electro glam rock shuffle. That concept isn't new, but where Goldfrapp were trying, Ladytron do it effortlessly and emerge with a much more natural sense of melody.

`I'm Not Scared' features more of Helen Marnie's ethereal vocal melodies and is the standout track of the album. Ladytron's vocal lines being idiosyncratic as they are, I'm often under the impression the band have invented and patented their own scales.

While on earlier efforts Mira Aroyo's harshly spoken vocals exuded the charm of a communist border guard from a 1980s Stallone movie, she utilizes her native Bulgarian in a way that makes the language sound genuinely sexy on the sublime `Kletva'. Imagine smoothly coming down from speed on an early summer morning, laying in a park with friends you've spent a night out with. You might have a few cans and a few lines left, and there's a sexual undercurrent to your interaction. `Kletva' is the sonic equivalent of that atmosphere. Strangely enough, it's actually the cover of an old Bulgarian children's TV tune.

I'm not sure if Ladytron's boys Daniel and Reben should be allowed to ever sing again, as happens on `Versus', but this is a minor complaint considering the album's overall gorgeousness.

From 2001's innocent 604 through the soft-focus lensed Light and Magic (2002) and the rock-tinted Witching Hour (2005), Ladytron's journey has been one from self-consciously naive quirkiness and melancholy-lite towards more intensely bleak scenarios. Velocifero peaks as their darkest album thus far, a quality further carved out by a harsher and harder production. Parallels could be drawn to Depeche Mode's gradual transformation from new wave synth popsters to industrial and rock flavoured gloom merchants in the 80s - a band whose outlook was not a million light years away from Ladytron's.

At the beginning of the decade, the NME granted Ladytron their 15 minutes of exposure. Maybe that was the problem. Ladytron's slick, detached image seemed to signify style over content, especially in contrast to the simultaneously bourgeoning `new rock revolution' - a random selection of garage punk Johnny-come-latelies and "scruffy" indie rock combos hailed as the real thing by the NME. While Miss Kittenesque ditties such as `Seventeen' found some resonance with the electroclash crowd, it went largely unnoticed that Ladytron were capable of writing classic songs such as `Blue Jeans`, an understated tune that would have made The Velvet Underground and Nico proud. Ladytron didn't achieve more than a solid cult following.

But given the quality of their subsequent efforts, and especially with Velocifero being yet another improvement in the songwriting department, there really is no reason why Ladytron shouldn't be one of the biggest acts in the world.

...give it a couple of plays, and play it loud. One misgiving: try not to listen to this on tinny little iPod speakers or headphones - they just can't cope with the omnipresent bass synth that rumbles throughout the whole album. You'll need a decent hi-fi for this, otherwise the whole thing distorts. I wonder how often artists think of this when they're in the studio?
(Incidentally, why has nobody else mentioned 'Burning Up' as a standout track?)

Have you noticed, when walking along a busy street, how many
more obstacles to a safe passage exist than did so (for those
of you who can remember) twenty years ago ?!

Humans have all but ceased to look OUT into the world.

With attention focussed on mobile phones and portable personal
music systems the pavements of London have become evermore
dangerous for a fellow, like myself, with four paws and a tail.

...and as for stainless steel mini-scooters - just don't get me started !

All of which may or may not heve any connection to the following
thoughts about Ladytron's most recent release 'Velocifero'.

The formula is an appealing one, if a little relentless at times.

Thirteen dense, rhythmically four-square, electropop anthems.

Despite, or perhaps inspite of, the lack of dynamic variation
evident in this set, it is left to its' not inconsiderable
melodic strengths to win through and save the day.

'Black Cat' is a worthy opener.
Mr Cortini's production skill brings a dark, hard edge to the
proceedings and Ms Aroyo deports herself splendidly in her
native Bulgarian with mysterious aplomb.

The confident stomping approach continues through ' Ghosts',
'I'm Not Scared' and 'Runaway' with little sign of fatigue.

'Season of Illusion' seduces us with it's slower introduction
and spookily shifting chordal progression before settling down
into another grinding groove.

'Burning Up' crackles along with the spirit of Mr Oakey and friends
dancing wildly in the wings.

'Kletva' mystifies with its elusive melody and impenetrable
(unless you happen to be Bulgarian) lyrical content.
What a strange and wonderful language to have at one's musical disposal.

'They Gave You A Heart, They Gave You A Name' brings the B52's to mind
for some strange reason but the feeling may pass.

'Predict The Day' must take the prize as The Wolf's favorite track.
The gentle and largely forgotten art of whistling is resurrected here
to stunning effect.

'The Lovers' thrashing progress and rather
irritating melody doesn't convince.

'Deep Blue' and 'Tomorrow' are both dancefloor worthies.

'Versus' is a somewhat anticlimatic ending. It's quasi-cinematic
theme only just saved from oblivion by a bit more B-Movie
whistling at the end.

All in all a bit of a mixed bag but worth the investment.

Recommended.