LADYTRON - Paradises

Once upon a time there was electroclash, a wave of new danceable electronic sounds that swept through clubs and specialist radio, sending every fan of 80s sounds and every veteran of 90s rave culture into raptures. It was an explosive mix that went beyond mere revivalism, blending synth-pop, new wave, techno, Giorgio Moroder and Kraftwerk with a dash of sugary pop thrown in. DJ Hell's compilations were the bible, and you'd discover fantastic bands and artists, all devoted to getting people high on sound and dance: from the icy Simian Mobile Disco to the colourful Digitalism, from the outrages of Peaches to the technological darkness of The Faint, from the brazenness of Tying Tiffany to the early Fischerspooner. Not to mention the genre's acid-tinged offshoot, which went down in history under the name electro.

In short, a land of milk and honey for 80s lovers and new converts to the electronic gospel, brimming with pop potential. Out of this explosion emerged a handful of key players who, over time, forged their own identity and sound, surviving the test of time: among them, Ladytron stand out for their clarity of vision, solid foundations (the name taken from a Roxy Music song) and their splendid knack for handling sounds and turning them into brilliant songs.

The Liverpool band, formed in 1999 on the initiative of Daniel Hunt, quickly brought together the ambitions of Helen Marnie (vocals and synth), Mira Aroyo (vocals and synth) and Reuben Wu (synth). Their debut album "604" (2001), which featured the splendid hit "Playgirl", was a statement of intent: a Human League-style line-up with female voices, synthesizers front and centre, swirling sequencer flourishes and pumped-up drum machines, all blended into a synth-pop mix ready to churn out excellent songs.

The follow-up, "Light & Magic", built on the winning formula with some classic tracks like "Seventeen", where danceability, pop instinct and serious electronics all shone at their best. With the following "Witching Hour" they embraced a rockier sound, letting guitars surface and partly abandoning the intent to make people dance. "Velocifero" (2008) and "Gravity The Seducer" (2011) confirmed this trend, with the latter lowering the level of energy and engagement somewhat. "Ladytron" (2019) and "Time's Arrow" (2023) watered things down a little further, offering nice songs but lacking that youthful electronic edge of the early albums.

With "Paradises", released via Nettwerk, the English band now returns to full brilliance, reclaiming their rightful place in the electronic pantheon. Elaborate vocals, myriad analogue synths, and a recovered freshness and dance-floor attitude. It's almost a double album, clocking in at 71 minutes, and everything works: Helen's whispered voice, the alchemy between basslines and sequencers, the obsessive beats, and plenty of great songs marked by an unmistakable style and an elegance that's hard to match.

Opener "I Believe In You" kicks off with a four-on-the-floor kick and swirling keyboards before taking flight and turning into an alternative club track, with a melody that sticks in your ears. "Kingdom Undersea" slows things down, a track with a dark-leaning pace built on two piano chords and a crossing of male and female voices that sends the chorus soaring. "I See Red" openly recalls the band's early synth-pop, an irresistible track driven by a sequencer that carves out a bassline that burrows into your gut and never leaves. It's impossible not to dance to it and get swept up.

"A Death in London" is a fine example of elegant pop resting on layers of keyboards and a soft beat, until a saxophone arrives to add a welcome 80s touch. "Secret Dreams Of Thieves" has a chord progression that gives it a dark edge, the voice elevating it to shimmering synth-pop status while a bass and synthetic vocals dig into your neurons, transporting you to a Berlin club. The peak arrives halfway through with "Metaphysica", a powerful, obsessive dance track with no chorus, built on a techno groove that launches you to another planet courtesy of a supersonic drum machine and synthetic bass. Classy stuff, a dance lesson for the history books. The album closes with the light "For A Life in London", a reflective track in the style of the Pet Shop Boys' "West End Girls" (Pet Shop Boys).

The reference is no accident, because Ladytron are now on a par with the forefathers of English electronic pop, and "Paradises" is a masterpiece of melody, rhythm and brilliant sounds that astonishes with its freshness and, once again, with its knack for crafting great songs.

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25/04/2026