Local Wire


Is it just us, or is Ladytron sounding more human? The Liverpudlian neo-Fab Four seems to have had a crush on shoegazer and Stereolab since the release of its 2001 album 604, but 2005's Witching Hour, Ladytron's latest LP, marked a significant sonic shift. Now, that's not to say that singers Mira Aroyo and Helena Marnie have stopped singing like synched-up sexbots — they, with bandmates Daniel Hunt and Reuben Wu, are still neck deep in kinky keyboard lines and irresistibly sensual synth-pop. This time out, though, the band seems more organic and, heaven forbid, alive. Real guitars and actual drums pulse beneath the reverb-washed strobe of white noise and dancey electro-pop, proving Ladytron has real blood surging through its veins, albeit chilled and topped off with polygonal haircuts. Ladytron literally sounds like a live band on cuts like the menacing "Destroy Everything You Touch" and the sexy "High Rise," and where Aroyo and Marnie previously sounded like they were reading from computer catalogues over the phone, their voices are now front and center.
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Casey Lynch