Showing posts with label Ladytron interviews. Show all posts
Showing posts with label Ladytron interviews. Show all posts

12 January 2014

Scotcampus interview (2011)

When it comes to serious synth few acts can compare with Ladytron. Formed in Liverpool back in 1999 the foursomes brand of consistently slick and sexy electropop has seen their music coveted by everyone from top nightclub DJs to the most sound savvy film producers. Now set for their fifth studio album Gravity the Seducer, lead singer Helen Marnie talks with Scotcampus about the band and what to expect from their latest release.

It has been a while since your last studio album. Why the long wait?

Well, we released Velocifero in 2008 but we've done quite a lot since then. We toured that album for about a year and a half then took some well earned time off before going into the studio again to make Gravity the Seducer. We released our Best Of earlier this year so there needed to be some time between that and our new studio album, hence the perceived delay.

I couldn't believe it when you released your Best of earlier this year; it doesn't seem to me like that long ago since your first album. Does it feel strange to you guys to think you've been on the go for over a decade?

Time flies when you're having fun. 1999 does seem like a long time ago now though. I was still at uni when I met Danny. It feels weird when I think of it in those terms. However, I'm proud that we've managed to stay together this long and make music we're really happy with.

Not many acts make it this long. Has it been easy to keep Ladytron going?

Oooh, you're making me feel old now. Like any relationship if you want it to continue and flourish you need to be dedicated and put a lot of graft in to make it work. We've all done that. Its never easy, but it's worth it in the end. There have been highs and lows. Thankfully, the highs outweigh the lows.

What have been the best things about being involved in the band?

You get backstage passes at festivals and no longer have to trail through mud to get to a bar! Seriously, we get to visit some amazing countries and cities and get paid for it. That's pretty nice.

And the worst?

I always wanted to be in one of those really mysterious bands that doesn't do interviews. That would be delightful. I am an interview-phobe. They scare me.

Tell us about Gravity the Seducer, how similar or different, does it sound compared to your previous albums?

I'd say its very different to our previous efforts. It still has the Ladytron-esque instrumentation - synths galore with added Harpsichord, bells, and floaty vocals - but is more ethereal and lush. The tracks seem to flow into each other and fit together like glue. Its a softer record. The softer side of Ladytron.

What are your personal highlights from the album?

I love the emotion of "Ambulances". It often makes me cry when I listen to it. "White Elephant" is just a slice of dreaminess heaven.

Has the way you make music changed much since your first release?

Not much really. We write at home, sometimes pass around for additional ideas, vocals or lyrics, then take the songs into the studio for development and see where they go from there.

What next for Ladytron? Will fans have to wait long to hear new material from you?

Gravity the Seducer will be on sale in September, so not too long to wait now. Next up for us is a tour of North America starting mid September. Looking forward to it.

Source

22 July 2013

Ladytron in China diaries (2004)

Shenzen 21st – 25th September

Helen

Before going to China I had no idea what to expect. Shenzhen is a city of skyscrapers, revolving hotel restaurants, chaotic roads, and concrete surrounded by lush green countryside. Also, this is my first taste of real Chinese cuisine, and its amazing. I won't want to eat a Chinese meal in the UK for quite some time!

The gigs in the true colour club went really well, especially the second night. I haven't had so much fun on stage in ages.

Danny

We began our China tour in Shenzhen, a 1970s purpose built 'special economic area' across the bay from Hong Kong. Played two ecstatic shows, a lot of fun, The second night, the audience being predominantly those who'd made the short (but apparently tough) trek from Hong Kong itself. We amused ourselves in the interim with fake Rolex. Shenzhen is interesting, but we expect it to be little like the real China.

Mira

Taking a rickshaw ride with a huge bunch of flowers through the streets of Shenzhen surrounded by golden skyscrapers at 6am was a pretty good way to finish off the night of our first gig for over a year. Even if riding on the wrong side of a dual carriageway with trucks speeding towards us did feel more like a ghost train ride at times.

We had landed in Shenzhen 4 days earlier after more than a day spent in the air making full use of the Virgin Atlantic on board entertainment system or at airports trying out exciting new packages of super noodles. We arrived in the midst of a tropical rainstorm so it felt like we had been teleported straight into the opening scene of Blade Runner. As soon as we checked in the lovely Echo and Suzanne from the British Council took us out to a restaurant. I kept an eye out for origami unicorns on the short walk through rain-drenched streets reflecting colourful neon. At the restaurant about 15 of us sat around a huge table with a revolving glass plate in the middle on which the waiters kept on piling delicious food that none of us save for maybe Reuben knew what it was. Whatever it was after a few days spent wrestling food off revolving tables with chopsticks or spinning around food in revolving roof top restaurants we just learnt to accept that Chinese cuisine is about orbiting around food and it tastes great.

It didn't take us long to find the revolving bar at the top of our hotel, but it took us much longer getting to it since it was on the 55th floor and to get to it we had to negotiate a network of lifts. Not an easy task on a jet lag and a few glasses of rice wine. We ended most nights before the gigs there, though we did venture out to the near by 'Piano Bar' on John's (bass player) birthday. The name of the bar turned out to be a bit deceptive since the DJ was playing the theme tune from 'The Omen' to a hard trance beat. The music was so loud the speakers were making the flames from the candles dance around the empty room. That, the full on laser show, a Hong Kong cyber sex flick projected on one of the walls and waiters dressed in suits serving us water melon on the side of our drinks made for quite an experience.

We spent most of our days at press conferences, rehearsing, swimming in the outdoor pool surrounded by skyscrapers or going to the local market where we learned how to bargain for Rolexes, clothes, sunglasses, visors and bags. We were yet to discover the joys of DVD shopping. Shenzhen is brand new city, which until 1979 was a tiny fishing village on the Pearl River on the border with Hong Kong. Deng Xiaoping developed it into the metropolis that it is today as the first Special Economic Zone, i.e. an area of free trading and market economy. We were aware that the real China was yet to come.

The gigs took place in a state of the art modern venue called True Colour. Most of the kids on the first night were local. They had either heard a few songs on the internet or were just keen to find out what a Ladytron is. It felt great playing after a year break and the response was amazing. We played a few new songs as well, but I guess to these kids most of our songs were new. Most of the kids on the second night had come from Hong Kong and were hardened fans who had waited to see us for a while. We had a lot of people singing along and a crowd surfer. There was a whole lot of hand shaking going on with the first couple of rows of the audience. We probably felt as ecstatic as the crowd.

After the gig each band member was given a gigantic bouquet of flowers. After the second gig we were spoiled with Ferrero Rocher. The Ambassadors reception. We stayed out drinking in the club and watched a Chinese trio do covers of The Beatles, Oasis and ouch... 'no more tears in heaven' by Eric Clapton. On the second night Reuben and our Chinese guardian angel Nee Bing took over the decks. Nee Bing put on Pixies and we all fought our way onto the dance floor. Meanwhile, on the other side of the building the ceiling opened up and the stage on which we played and which had only just been cleared up got flooded. Had it happened a second earlier our precious ancient synths would have been killed. Had it happened 30 minutes earlier a band member or two would have been electrocuted. Time to move on.

Chongquing 26th September – 1st October

Helen

I think I had the best room in the Hilton hotel we were staying in. From the 33rd floor I looked out over the tops of skyscrapers, a massive sports stadium, and in the distance, through the smog, the mouth of the river.

There aren't many westerners here, which accounts for the stares we get from passers by. Children are especially curious. It's funny. I even got girls in the market giggling at me and pointing to my eyes. Very strange considering blue eyes are so common over here.

The gig is in one of the weirdest and most wonderful parks I've been to Shaping park. First there was the miniature world landmarks, then there were the singing Mynah birds in tiny cages strapped to the trees, and then we stumbled across a ladies choir singing away surrounded by all these trees. I wanted to take a little boat ride across the lake, but Danny put my off - scaring me with tales of disease from water. Oh well.

Chongqing is like no place I've been to before and I'm glad I've experienced it. However, I can't wait for Shanghai!

Danny

Now we're 1000km inland in what we're told is the Real China - Chongqing, in the southwest, the biggest and most polluted City in the country.

It's completely breathtaking, newly constructed tower blocks sit side by side with shanty houses, ancient alleys and street stalls. Apparently 4(!) British people live in this municipality of 30 million. Less than 500 westerners total. We've met half the Brits, indeed our party quadruples the British population here. This is very near the site of the three gorges dam, a hydroelectric generation project originally conceived in 1919, which will create an inland sea 550km long, submerging 11 cities and 180 towns in the process. Scale. Spent a lot of time in the pool and jacuzzi as the experience became increasingly like 'lost in translation'. Heading for Shanghai on Friday, where the future is happening.

Mira

Airborne treats on China Southern airlines included dried beef, some odd tasting peanuts, a lovely China Southern wallet and a body art TV talent show in which kids used their hands, knees and legs as part of the structure of musical instruments, 2 guys formed a car while a couple of rotating girls dressed in pom-poms acted as the brushes at a car wash. One gentleman's 'talent' was to simply put a mask on the back of his head thus pretending to have his head screwed on the wrong way around. Genius. We landed in Chongqing in thick fog. The skies there only clear up for 20 days a year and when they do the sky is green because of the pollution. As a result of that, we were told, Chongqing girls have very pale skin and are very beautiful. The three things everyone had mentioned to us about Chongqing were the traditional hotpot dish, the fact that it's built on steep hills and so there aren't any bikes around and the beautiful girls with pale skin.

Chongqing, population 13 million, is southern China's dynamo and China's most industrial city. It is a busy port based around the peninsula at the junction of the Yangzi and Jialing rivers 2400km upstream from Shanghai. In 2009 it will find itself on the banks of the Three Gorges Dam. The controversial dam will be constructed by blocking and diverting the Yangzi river 670km upstream from Chongqing, thus creating a lake the size of lake Michigan. In doing so thousands of villages, hundreds of towns and cities and countless historic relics will be submerged. 10 million people will have to be relocated, but when completed the dam will provide 10% of China's power.

The views from the window were very different to those of Shenzhen. Tall concrete blocks, lots of flyovers tiny workman shops, kiosks selling building materials, machinery and food. Not much neon or not much that we could see through the fog. We spent the days before the gig doing press conferences, answering questions such as 'Are you planning on incorporating human voices on your next record? Did you choose Reuben to be in the band because he is Asian for his special effects? Will your show be adequate for Chinese audiences?'. In between we relaxed in the pool and Ivy showed us around some shopping centres.

On the morning of the gig we went out for a walk to the river. At first we followed the main busy roads, but then we noticed narrow winding staircases that lead away down the hills into a dark abyss. Following these staircases was like stepping through the looking glass. Tucked away behind the flyovers and skyscrapers are urban villages. Crowded little houses, people on the alleyways selling food, tiny markets, men sitting outside their houses playing MoJong, a man getting his hair washed ready for a haircut and everyone looking at us smiling and waving hello. When we stepped out of the looking glass we found ourselves on yet another busy road, but the river was in sight. The only way to actually get to see it was for us to buy tickets to a Wedding park. A very snazzy enclosed area where people could do everything from buying their wedding dress, to getting their wedding photos taken, to having the reception and staging a party. The Yangzi was the colour of the chocolate river in Charlie and the Chocolate Factory. In the distance we saw a woman raking out a solitary plot of land on the riverbank for cultivation. All in all a pretty surreal start to a pretty surreal day.

The gig took place in Shaping Park, an amusement park containing some ancient rides spinning around and miniature landmarks from around the world. We saw Sydney Opera House, the tower of Pisa, Notre Dame, the statue of Liberty. Apparently there was a Big Ben but we didn't find it. And where was mini Southend Pier? From the stage we could see people sitting on top of Mount Rushmore to the left. A huge Ladytron poster with 'Way to Toilet' written on it was draped on top of Arc de Triumph on the right. The gig fell on the night of the mid-autumn festival and we were told there was a full moon, only we couldn't see it through the fog. Around 3500 kids came to the gig. The show was free to get into but you had to phone up for tickets in advance. As there are only 4 other Brits residing in the city we weren't expecting a lot of ex-pats to turn up. Most of the people had either heard a few of our songs on the internet, came to see the support Flowers, a Chinese version of Busted, or just came for the party out of curiosity. The reception was great. Kids had made reversible heart shaped banners with Ladytron written on one side and Flowers on the other. Everyone was waving glow sticks and occasionally throwing them in the direction of the stage. There was a 90 year old raver in the front row dancing his socks off. After the 2nd song a six year old came on stage to present us with flowers on behalf of the mayor. He said 'We love you Ladytron, you rock!', then shouted something in Chinese and threw a glow stick at the crowd. After the gig we signed a whole lot of autographs. We hadn't even left the venue before the builders started tearing down the dressing rooms and stage they had built for us by hand the day before. Efficiency. Nee Bing took us to the grand former French Embassy for an after show cocktail.

We had a couple of days off after the gig. The first day we spent walking around the city and taking a cable-car over the chocolate river. On the other side we went to a Hotpot restaurant. The Hotpot turned out to be a Chinese version of Fondue. You order a bunch of different raw vegetables and fish and dip them in the boiling broth full of spices and chillies in the middle of the table to cook. We caused the usual amount of commotion as our table caught fire. On our last day the British Council had organised a daytrip to the Dazu rock carvings. These are a series of impressive 8th century Buddhist statues and images carved in rocks and caves. To get there we travelled for a couple of hours through misty mountains and paddy fields farmed by ox and hand, girls sweeping up the motorway. When we arrived a bunch of smiley 6 year olds ran towards us. I looked in my bag and all I could find was a Ladytron laminate pass to give to them so I chose one of them at random and there and then recruited him as a new crew member. I took a photo of him so we can track him down in a few years time when he grows up to be stronger. My favourite bit of the trip was visiting the Dazu Buddhist temple. We got sung to and blessed by a monk. A very beautiful experience. Then we got pointed in the direction of the cash box and after contributing got asked to bow down three times to it. Nice to know they hold the money God in high esteem. We lit gigantic incense and left after tour manager Chris set off some fire works off the edge of a mountain.

On that last night in Chongqing it rained and the skies cleared for an hour to reveal a beautiful mountain range on the edge of the city. It was strange to see clearly after a week of seeing everything in a kind of soft focus.

Shanghai 4th October

Helen

I almost thought we weren't going to make it. The internal flight from Chongquing to Shanghai was awful! My fear of flying is not getting any better.

Shanghai is a breath of fresh air though. I love it. The tree lined streets are so pretty and remind me of New York. With all the fake Prada I've bought I feel like a girl from Sex and the City. I've never shopped so much in my life! The clothes are so cheap in the markets I've been snapping everything up.

It seems like there's a lot going on in Shanghai. A lot of clubs/bars/restaurants. It's a fun place to be. At night everything turns to neon and the city glows.

The gig at Fuxing park was another good one. I think we may have converted a few people. What better way to top off a gig than with karaoke!

At first everyone is a little shy, but after a few more drinks everyone's dying to sing. For some reason Danny keeps putting all these really high and difficult songs on for me ­ like "For Your Eyes Only" by Sheena Easton. Yikes! Its a lot of fun tho, whether you can sing or not. Singing "Like a Prayer" with Bamo was a great laugh.

On the morning we leave Shanghai we get one last treat ­ a first class ride on the Maglev high speed train to the airport. I cannot believe a train can go so fast. When we reach 450kmph it feels like we're flying, and as I mentioned before I am not the worlds greatest flyer! I must admit I was a little nervous, perhaps a little scared ­ and thanks to Jackie, it's all been captured on camera!

Danny

Arrived in Shanghai yesterday, already in love with it. The New York/Paris/Barcelona/Milan/Sao Paulo/Osaka......etc...etc of China. The French/British colonial influence is all around, but this is a distinctly Chinese city overall, and there seems to be a new energy and optimism here that is infectious.

Been shopping all day, bargaining in markets and visiting traditional tailors for measurements. Tonight a few of us are going to a Chinese football game, followed by karaoke, a full report of which will follow.

Reuben

We spent five days in Shanghai and had only one show scheduled, so you can see how much free time we had to entertain ourselves. Shanghai is twinned with Liverpool because of its trade links from the turn of the century. There were a few striking similarities, including an almost replica waterfront, apparently to give Liverpudlian sailors a sense of home from home, a city-wide arts biennial event happening at the same time and the bizarre habit of girls roaming streets in nothing but pyjamas.

The clubs and bars here play a lot of funky house and jazzy beats - there's not much electroclash going on in this town, which suits us fine. Bassist Pop Levi played an impromptu set at a cool bar called Tang Hui and was later joined by the rest of Ladytron to perform a Francoise Hardyesque version of "He Took Her to a Movie". Our karaoke session at Shanghai's 'Partyworld' took place in a private room and lucky participants were privy to Helen's rendition of "Genie in a Bottle", Danny's version of a "View to a Kill", Mira's deadpan remix of "Centerfold" and Reuben's E Smithesque rant of "It's Tricky".

The scratch-built venue at FuXing Park took a couple of days to come together. Thanks to Ladytron's talented crew, the band played an hour-long set, with full brand new visuals and light show, including a some new tracks from the new album. A few thousand people turned up, some of whom had flown in from Beijing to see us, some of whom had heard "Playgirl" on the internet and some of whom had no idea who the band were at all. One irrate old man even turned up and started shouting at 'everyone' to pack up and leave because the show had disturbed his sleep from a late night of MaJong... We ended the show with an encore of "Playgirl" and a decelerating version of "USA vs White Noise".

Support band Supermarket played an interesting electronic set beforehand, sounding like a cross between old LFO, The Beloved and slower Orbital... Flowers, coming on like the Chinese version of Busted, ripped the crowd into a frenzy with their camp kung-fu flower show... fantastic.

After 3 weeks of being in China, we've only just started getting used to the lifestyle here, even with it mainly consisting of fake Rolex, pirate DVD, bartering, magnetic levitation, incredible food and intrusively rude Chairman Mao musical lighters... that's our Christmas shopping done already...

Source

20 July 2013

Disturb.org interview (2001)

New Liverpool Fab Four, with 2 DJs and 2 singers, Ladytron was spotted by the NME, always looking for new sensations and trends, which awarded the title of "single of the week" to all the band's releases. These strange, black-clad characters, Kraftwerk-style, great eighties fans, release their debut album, 604. We met one of these men in black, Daniel Hunt, who is certainly less austere than we might think.

Where does the name Ladytron comes from?

There's a song called like that, written by Brian Ferry on the first Roxy Music album and also the Disney film "Tron". It's a nice idea. That's just a name that suits us.

And this title: six-o-four?

You know this film called The Andromeda Strain? It was actually a reference to that film. We wanted a number, something that was really pure and open to interpretation. Since then, people have come up with hysterical interpretations of it. It's just a nice thing that looks good on the cover of the album.

Your singles have all been singles of the week for the NME: how do you live it and what do you wait from success?

We're still in a learning process, cause everything has happened so accidentally. It seems more coherent over here, because we've signed to labels and everything's organized, but in England, it's been a really slow build, with a little bit of press here and there. The NME have never given us a feature, just a few singles of the week. It all feels quite strange and accidental, so all we really wanted from success was some kind of recognition. In 10 or 15 years, if some kid goes to a second-hand record shop and buys our album, that'll be in a way more appealing than anyone buying it now, because of the idea we might do something that might last.

The newspapers have described you as "the eighties dreaming of year 2000": is it a good definition of Ladytron?

I think it's a valid definition. When I was about 17, I started acquiring synthesizers and I really wanted to find avenues that music never took, but nowadays, we just think our music is our version of "now". It's not a revivalism of anything or an anticipation of the future, it's just our version of the present.

What were your influences? Kraftwerk? Depeche Mode? Chemical Brothers? Gary Numan? Magazine? Devo? Brian Eno / Bowie? NIN?

I started doing music when I was about ten years old, I was into Duran Duran, things like that. My older brother didn't like that and got me into Mantronix and electro records. I had a Casio keyboard and I tried to make music and record it to cassette. The first thing I did was a sort of copy of Rockwell's "Somebody's Watching Me" featuring Michael Jackson.

The bands from the past that people compare us to aren't as influential to us as it might seem. People pick upon Kraftwerk, Human League, etc., but they're not as influential as it might seem they are. They are more reference points than influences. I think the songwriting is something more classic, it's a pop sensibility, whereas Kraftwerk never did songs like that. I feel more affinity with The Chemical Brothers as I do with some of the other bands we get compared to. We're all into dance music.

I have heard you like Black Sabbath too?

I'm a fan, there's a song we did that ended up sounding like Black Sabbath although it wasn't intended to. It appears on Mu-Tron, an EP that wasn't released in France. It's called "USA vs. White Noise".

You only use keyboards and voices, but no guitars at all: why?

We wanted to construct it from the ground up with keyboards, cause mainly I think in England people rely too much on building songs with guitars. When a band says it will go into an electronic direction, it just means they add some analog synthesizers in the background and it's still the same guitar sound. Moreover, these were the only instruments we had, we just had one guitar with 4 strings on it. We hadn't changed the strings in 6 or 7 years. We had the synthesizers lying all around, we just used what we got.

Is your look on stage very important to your music?

When we're together, we dress the same. It's important in a way, because we want to be a unit. It's not a purely stylistic thing, it feels like the right thing to do. It also distances us from a kind of revival in fashion from the 80s and things like that, because, as a band, we are not interested in the visual element of the 80s at all. We like the technology from that time, but not the graphic design or the fashion. If you listen to a record like "Fade to Grey" now, the production is amazing, it sounds modern, but then you've got Steve Strange, with his harlequin costume... We're not into that side of it. It think in England, the credibility of that music suffers because of the image in a way. People don't take this music seriously because they associate it with people dressed as pirates. (laughs) Our clothes are supposed to be utilitarian, not stylish.

Would you consider writing music for a fashion show?

We've already been used in fashion shows, to be honest. It's nothing to do with us, maybe the music has got some kind of compatibility with that. It's quite a strange thing. We don't mind it, but I think the fashion industry is quite farcical.

Ladytron are two DJs and two girl singers: how did you first meet?

Reuben and I grew up near Liverpool and we had very different upbringings: he went to a public school and I went to state school, but we were both DJs and we knew each other from hanging around in the same record shops. He went away to study in Sheffield for a few years and when he came back, he'd written music and I'd got the recording equipment. We decided to do something, we didn't really know what it would be. It didn't become a band till we met Helen and Mira. Helen was studying in Liverpool (she's from Glasgow) and Mira was introduced to us through friends.

Recently, you've been touring Europe but not in England: why?

We went on tour with Soulwax in England in February, that's our first tour in England. The reason why we didn't bother was we didn't really see the point. It hasn't done us any harm not playing, we did a couple of shows in Liverpool, then left it and played in Europe. We didn't go to London, even though people were asking us to partly because we couldn't be bothered, partly because we wanted to wait for the album and play in front of people who already liked us, have an audience. It was also good to concentrate on making the record because that's something really special, whereas a live show is so ephemeral. You won't remember it in 20 years, although you'll remember a record. Another reason is that, since I'm from Liverpool, I have this twisted kid of resentment of London and I didn't want to have to pander to the media or the industry in London. It was just a "fuck you" thing, you know. I don't like the way people think you HAVE to do it.

You don't play much live: is it more fun to be DJ'ing? And to make records?

Yes, it's fun DJ'ing, but we're gonna do an American and a European tour. The album's been out two months longer in America. It was good that we didn't waste energy, we put all our efforts into the album.

Will you shoot videos?

We've done a video for "Playgirl", it's cheaply-made, but very nice. It's mainly a shot of Helen singing the whole song. Live, we're gonna use video stuff, it's being made at the moment. Nothing too pretentious, just graphic stuff.

You've been touring with Soulwax, who made this song: "Too Many DJs": how were you received by the audience and how did you live it yourselves?

It was strange, because we hadn't toured before and these were very big venues. Since Soulwax are very rocky, we thought it could go very badly, but it actually went really well. We do some remixes in the sets, but it's mainly a live thing. I think Soulwax are bigger DJs than we are. (laughs) It was cool, lots of kids who had never heard of us approached us after the show.

You're DJs, but remixers too, for Soulwax for example: do you intend to do more remixes? And produce bands?

Definitely. I want to do some production too. I don't want to protect any kind of indie credibility. I'll do whatever I want. The biggest act of subversion you can do is getting into pop music itself.

How do you see your future and what are your wishes for it?

I can't see even two years in the future now, because the future has already happened, so it's really hard to imagine what it's gonna be like. I just see myself behind a record shop counter 10 years from now. (laughs) Hopefully, I'll be living somewhere hot.

24 March 2013

City Weekend Shanghai interview (2013)

At the close of the '90s, the chasm between electronica and indie was vast. Integrating lush '70s analogue synths with indie sensibilities, a new quartet called Ladytron helped bridge the two communities, and neither indie rock nor electronica has been the same since.

Founding member Reuben Wu continues to navigate disparate worlds—whether as member of Ladytron, DJ, artist or photographer. Ahead of his DJ set at 390 bar tonight, Wu shared a few insights into how he connects the dots, both personally and artistically.

His photography depicts some of the planet's oddest cultural and natural landscapes with meticulous minimalist composition and selection of colors. His series on the Atacama Desert, for instance, juxtaposes the sparse rocky palate of the landscape with colossal futuristic telescopes of local observatories. The photography is as stunning as Wu's music, with which it shares more than a few parallels.

Fortunately, in the role that brings him to Shanghai—as a traveling DJ, Reuben can embrace lighter digital technology, performing with an arsenal of CDs that spans several eras and styles.

We're excited to have you playing Shanghai again.

I can't wait to come back. It's always exciting when I'm China. There's lots to explore.

We've loved your music for years, but only recently discovered your stellar photography. When you're touring, are you also working on your photography or are the visual and sonic missions separate?

Creatively, I see them as separate entities, but practically, they've always been intertwined. Essentially, it was traveling with the band that encouraged me to do more photography. That's where it was inspired from: all these places that I was traveling to. I'd be on tour or DJing and I'd make time to explore these amazing places around the world. In this case, though, I won't be doing as much more exploring because I'm also busy writing new material for the next Ladytron album.

Is your art photography strictly film or do you do digital work as well?

98% of it is shot on film. However, I do own a digital camera and use it occasionally. I like film. I like the look of it. I enjoy the process of having a negative in front of me. It's not entirely analog. I'm not a purist. I have my negatives processed then I scan them digitally. It's like the music in that we use a lot of analog equipment. But the way we sequence and produce on top of that is via digital means. So, it's a combination of the two worlds.

In terms of the analog element with your synthesizer work and photography, are there other aesthetic parallels?

There always has to be an element of balance. That's as far as it goes really. I don't like images that are too complicated. I like simple images that show composition and lines, and simple subject matters. And I suppose in the music that's what I attempt to do as well. I go for rich compositions that sound simple but there's a lot of texture embedded in that. The other parallel is of course that you're always carrying huge amounts of equipment with you. My camera is big, and so are the keyboards.

What's your setup for your DJ tours?

Very simple. I just use CDJs. I enjoy DJing and having a drink while I DJ, and if I drop a beer on the laptop, that's the end. But CDs, they're kind of disposable.

What do you like to see in a crowd?

I just want people to dance. I can see that while we're performing with the band and Helen and Mira are at the front, they have to have their on stage characters. But DJing is just a bloke playing music and it's nice to see people dance and not worry about who's playing the music. I like to be down in a corner, where I can be as close to the crowd as possible.

What are you playing on this tour?

There's a lot of tracks I'm playing at the moment. One of the artists I've been following is Daniel Avery, who's on Erol Alkan's Phantasy Sound label. I enjoy playing his stuff. It's kind of house-y, electro-y. Goose is another band I've been playing. What else? A lot of old stuff. A lot of acid. "Voodoo Ray" by a Guy Called Gerald. "Acid Thunder" by Fast Eddie … It depends on what the crowd is like. With me being in the band, sometimes they'll want me to play something more indie, a little more post-punk, a bit more raw. I'm anticipating that Shanghai will be more electronic.

With Ladytron, what's the process after you decide that you're going to create a new album?

We start writing individually. We've never really lived in the same city before. We've always been geographically apart. Now more than ever. I'm in Chicago. Daniel's in Sao Paulo. Helen's in Scotland. Mira's in London. It would be hard for us to get into a room and write together. And that's never been how we've worked together.

It's always been first as individuals, and then reviewing everything together, and then working on each other's songs. That's how we've always worked. And it goes well with how we make music. We do get together down the line and in the studio when we start fleshing out the tracks.

It sounds very organic in process. Or, do you plan ahead to have a certain feeling?

It comes from the first demos we create. Each of us has different tastes musically, but we have a lot in common. That allows us a diversity ideas, and I also think that's how each album sounds different from the others and at the same time maintaining identity, which we've always had. Working as a group, we get so many more ideas than if it was just one person coming up with the songs.

You said you're writing some of the new album while you're traveling. Is the laptop how you approach songwriting or do you have other equipment when you travel?

I'm living in Chicago, and while I'm away, I do have a laptop and MIDI controllers with me. I do try to take out analogue synthesizers with me too. But in terms of writing demos and coming up with basic ideas, soft synths are useful tools. What we end up doing is layering a lot of analogue synths on top as well. When we get into the studio with all the dusty old gear, that's when we stop swapping sounds out.

What do you think of the analogue revival with Korg's MS-20? Exciting, or do you still prefer the old analogue synths?

We've used a lot of MS-10s and MS-20s and they're fantastic. But they are old and weren't really designed to be taken out on tour. And many times on tour, we've had MS-20s go down just like that. One's broken, then another one's broken. So, we've often found ourselves on eBay on the road, winning these MS-20s and have them delivered to us to cities downstream. And we pick these up and they replace the old MS-20s.

It's a costly and stressful process. We've had missed deliveries. We had one missed MS-20 that we kept missing and it kind of followed us around. So, we've thought for more than 10 years, wouldn't it be amazing if Korg came out with a new MS-20 that didn't break down? And finally, the new MS-20 mini has come out and it looks like everything we've wanted. I just wish it was full size.

Anything else you should tell our readers that we forgot to ask about?

I think it will be exciting year. I hope we will be playing shows. And we'll have a remix album out of remixes by other people of our last album in the next few months. And I hope the new album will be out in the autumn.

Source

06 January 2013

Rare FM interview (2005)

Ladytron's Daniel Hunt talks to Robert Dunn and Pavel Oulik about why the new album has taken so long, losing the uniforms, Liverpool and why Pete Burns is probably better than him.

First thing, there's been a delay in releasing this album. It was meant to come out last year. What happened there?

We changed labels, that's all. When we started working on it, we were on Emperor Norton in the US and Telstar/Warner UK and rest of the world. Both those labels imploded while we were making the album. It was a ridiculous helpless situation to be in. We were in the process of demoing it two years ago. We went into to record it April 2004 so it could've been released by that autumn. It was very quick to write and record. It was really quite an easy smooth creative process. Just logistics held it up really, nothing that exciting.

The new album seems to continue in the vein of Light & Magic in that it was a departure from 604 for a darker, less poppy sound.

Maybe, in part of it but I think arguably it is the same as Light & Magic. Parts of that were darker but parts of it were more poppy in a way, like "Evil" or "Seventeen", or "Blue Jeans". This one, and I know everyone says that about their latest album, but this is by far our favourite and a lot closer to what we intended to do and the sound in our heads than previous two albums. It's a lot closer to what we originally had in mind and it's just a lot better articulated. The production's better; the songs are better; arrangement's better. It's also because we finished it a year ago but we still listened to it ourselves, which is probably slightly narcissistic, but if we're not bored of it yet; hopefully other people won't be.

Is it true that when you were touching it up in LA, the production guy thought there were guitars on there?

Well yeah, this story actually came when we recorded a cover version of Tweet's "Oops, Oh My" which musically was totally different to the original. It was just an idea we had on Monday, rehearsed on Tuesday and recorded on Wednesday and it was on the NME Turn On Chart the week after. It's just a little anecdotal thing, but it was all overdriven monosynth on our sound. When we were mastering it, the master engineer said 'I'm gonna tweak that frequency to bring out the guitars a bit more' and we were like 'Well, there no guitars on it'. It's the same thing with this record, like when people heard "Sugar" they went 'they've gone guitary'. The only guitar on that album is that high pitched wailing sound, the rest of is synths and the drums are drum machine. I think people hear a dynamic like that and assume that it's rock and also everybody is waiting for every synth band to commit the ultimate act of betrayal, Depeche Mode style. Like, y'know 'They've gone rock on us! They've gone rock on us! I knew it was gonna happen!' and that's not what we did. This record, in terms of our original root, probably the most influential band on me of the nineties is Stereolab and that's where we come from. Stereolab and My Bloody Valentine. We always got compared to The Human League and Kraftwerk but we were constantly trying to say that that was not what we wanted to do.

This is your first proper tour since Light & Magic in 2003. How does it feel to be back on the road?

It's good because there's only so much you can think about music, especially after such a long time working on this record and waiting for it to be released. Playing live is like the closest you get to manual labour, like working in a factory - it's instantly gratifying. So when you're on tour for a long time you're desperate to get creative again. I think it's very difficult to work on music when you're playing music every night. Thinking about those old songs, you need a break from that. But once you've been thinking about phased high-hat sounds for eighteen months you definitely want to get back on the pirate ship again. Go out there and hammer away.

So how's the tour been so far?

It's been good. It's got progressively better night by night. We remember the Oxford one being particularly good. Aberdeen as well. Glasgow was last night and that's always good. Played in Liverpool... our tour was strangely routed. We made a set of Mickey Mouse ears. We were just backwards and forwards on the M62 for like four days.

How was the Liverpool one?

It was good. Mine and Reuben's families were all out. It was good actually, because normally, loath to admit it but, the Manchester ones tend to be better than the ones in Liverpool.

I remember being at the last Liverpool gig in 2003 and there was a moshpit.

Were you at that one?

Yeah, and Franz Ferdinand supported.

Oh yeah, that little band. It was funny that because we supported them this September. A strange symmetry two years later. We thought they were really good and thought they were gonna do well but we had no idea that was gonna happen.

And Reuben's dad was next to me.

Oh yeah, Reuben's dad was moshing. He was at it again this week.

You played a cover of Cabaret Voltaire's "Nag Nag Nag" on your last tour. Are you gonna do that again this tour?

I dunno, why did we do that? It was just something we wanted to do at that point. It was funny because when we were working it out, we worked out the music easily - it's just two chords, Mira actually phoned up and got Richard H. Kirk's number off a mutual friend to get the lyrics and he was like 'I'm not sure if I remember them' so she was sitting in the rehearsal room on the phone transcribing the lyrics direct from source. We then invited them to Leeds Festival because we were going to play it live but our set was too short so we couldn't even play it and they were standing there at the side. So I dunno, we might play it again or we might just do another cover probably.

You've ditched the uniform outfits. Was this because it was limiting since people generally and the press especially were concentrating on the image of the band?

A little bit, but it's also because they were made for the last record. They weren't the same as the ones we had for the first record. On the first record we were wearing a few different things, but yeah it did get focused on a lot. It was just something that had run its course. And the girls wanted to wear dresses. I suppose it goes with the record as well, creatively the record's free-er. If things get difficult we can always sell them on ebay. Actually there were three sets. There was a green one, a black one and a white one. The white one only got worn once because it looked too much like catering had arrived.

Light & Magic was well received in the US and you played to much bigger crowds. Are you going back there to tour this album?

Yeah, definitely going back in Spring around March-April. This album's gone down even better than the last one. Getting better reviews and a lot more radio play even.

What do you think the difference is? Here you're relatively famous but what's it like in the States?

Well it's the same there. We're famous on a cult level. We sell out a venue like this [Koko] but it's not like cab drivers know who we are so I think it's probably a good level to be at. Over there it's basically the same but the venues are bigger, obviously the country's bigger. Like we've played somewhere bigger than this in New York and Chicago but then they're bigger cities.

Between touring, being in the studio and DJing which do you enjoy most?

It's different because there's so many different ways you can think in terms of music. In the studio, the album is the main thing but once you've thought about a record for so long you wanna get to work in the factory. DJing is just a bit of fun and also an easy way to get to places where the band hasn't been yet. We did Brazil, Argentina three or four times. We haven't played live there yet but we will next year. And we always go to America before we go on tour and do a DJ tour first so it's just an extra element. I think it works for us in terms of getting our name around as well.

Your DJ sets all differ. You're all very eclectic but your styles differ within the band.

Yeah, exactly. You get more Fleetwood Mac with Helen; you get more Os Mutantes with me; you get more Johnny Cash with Mira. Reuben just plays Gabba nowadays.

The British Council set a few gigs in China for you. How was that different to what you're used to?

It was an emotionally pretty draining experience for me even though I really enjoyed it. It was just like so much experience packed into two weeks. We only played four shows and saw so much. I mean if we'd just played Shanghai it wouldn't have been anyway near as weird. It would have been very impressive. But we saw Chungking as well which was completely different, it could have been a completely different country. It was good that they picked us to do it because they could've picked any band out there. But someone, somewhere decided we were taken out there.

You're the representatives of the British music industry.

Well, exactly. They could've taken any four-piece y'know four boys guitar band out there but they probably thought 'What good is that gonna do?' Without wanting to sound too big-headed but maybe they saw in us someone doing something a bit different rather than the regular thing people expect from Britain.

Do you have a favourite moment from a gig and/or DJing?

A lot of gigs on the American tour were really special. The gig in Sofia was very special. Exit Festival in Serbia this year was especially good. And the Champions League final, DJing that and playing Ring of Fire 40 times in succession.

How many fans were you DJing to?

Well a lot of them were still arriving so it was like this river of red coming down the hillside and I was trying to play a John Peel tribute set. So I played The Modern Lovers, "Kicker Conspiracy" by The Fall but I just kept having these guys coming up asking for "Ring of Fire" so I ended up kept putting it on. I knew Pete Wylie was gonna play a cover version of "You'll Never Walk Alone" later on so I asked his permission like 'd'ya mind if I played it now?' and he let me so I put it on and there was probably 25,000. Instantly, all these scarves in the air and everyone singing, I was literally in tears. It was the most insane thing, I'm sure there's footage of me and Gary from The Bandits who was there with us, people were passing us flags. After Wylie's version I had to DJ again so I stuck "Ring of Fire" on again and there was a stage invasion. The stage was just suddenly full of fans and I just looked at the people around me looking on in horror and I was like 'You best just pack these CD players away. I shouldn't play anymore. You should just take it all away now otherwise someone else will take it away for you!'. So I just gave up and then got pissed. And then went into the stadium and took 15 years off my life.

So that was before the match?

Yeah, before the match. I couldn't have done anything after the match.

Yeah, I was watching in my local and I couldn't bear to watch the penalty shoot-out so I had to stand outside.

The only question for me was what was gonna take me first? Heart failure or brain haemorrhage? Or a combination of the two.

It was quite an experience when you're in a pub in North London full of Arsenal fans singing "You'll Never Walk Alone".

Aw, that must have been mad, yeah. Seriously, I've heard that tragically some people did have heart attacks. Like some 22 year old kid from Ireland died in the pub during the game and I'm like fucking hell. And he didn't even know we'd won y'know. What a fucking way to go. I kind of lived in Milan for half of last year because my girlfriend lived there and made loads of Milan fan friends - lost them all. Made a lot of Inter friends now.

What are you listening to on your iPod at the moment?

I suppose just a case of what I've put on it. I put a load of Eno on it recently, and the Clor album. And I uploaded a load of Os Mutantes onto it. But it's quite an old one so the battery life in is like half an hour or something.

Who's the best band to come out of Liverpool? You or Dead Or Alive?

Ah, definitely Dead Or Alive! They were actually a credible band at one point. No one remembers this but what DOA were doing before they got involved with Stock, Aitkin and Waterman, they sounded like The Doors. They were more like The Cult or something like what The Cult were like in the mid-eighties. But then something happened, I dunno what. But I think Pete Burns is laughing all the way to the bank anyway.

What are your plans for the future?

More records. Well tour, this record, then the next record will come out a lot quicker.

So you enjoying it?

Yeah, yeah, more than ever to be honest. The more we do it the closer we get to a definitive thing. There won't be the gap, because we've had so much time off we've already written the next one. It would be good if we could have another record out this time next year. It depends on how much touring we do in the interim. I'm trying to press that we can take a month off and get the new record done.

So you've already got material for the next one?

Oh yeah, there's loads of stuff already there. We just need time to actually record it. So maybe if we can get a month off somewhere between now and next summer we might be able to go in and record it.

Do you think you'll ever get bored of this lifestyle?

I dunno, it's all I've done; I've never actually had a job in my life. Not because I come from any position of privilege, y'know, very normal family. I've just been very very lucky. All I've ever done is DJ and bands so I can't see myself getting bored of it. It's just a case of where you live. If I wasn't travelling so much I probably wouldn't live in Liverpool.

So are you still living in Liverpool?

Yeah, Reuben and I both bought places in Liverpool. It's a good base but if I weren't travelling all the time I wouldn't stay there. I mean I really love Liverpool and it's obviously home but I wanna live other places.

Where in Liverpool did you grow up?

I was born in Crosby but I grew up in the Wirral...

Really? I grew up in Toxteth and Aigburth, but then moved to Crosby where I lost me accent. [For readers ignorant of Liverpudlian geography, Crosby's a bit posh]

Oh, Reuben's flat is in Toxteth. Mine's in right in town, Duke Street. But we both grew up on the Wirral. We just opened a bar in Liverpool actually which makes things a bit more interesting.

I was back home in the summer and I tried to go to your club [Club Evol] but it wasn't on.

Yeah, because we were opening our own place we stopped the night where it was and we opened this new place, it's like a café-bar during the day and a club at night. It's called Korova on Fleet Street and Wood Street, near Probe Records. That's been open two weeks and going really well. It's a lot more satisfying than doing a club night because other people can do stuff in there and it's about making somewhere where it's good all the time and other people can use it. Like on Wednesday night Dave McCabe and The Zutons just turned up and did acoustic. We programme the music in there pretty carefully, the décor's nice and get all our favourite Latin American beers on the bar.

Do you mind if I take some pictures?

Could you take it later? You gonna be around for the gig? Could you take it later because I've basically just got out of bed and look like shit. It's what I've been dreading because all the interviews have been scheduled during loading time so a bit too early for me.

27 October 2005

Source

23 December 2012

Chicago Sun-Times interview (2003)

Plenty of hip indie rockers pay homage to the groundbreaking synthpop band Kraftwerk, but few come as close as the Liverpool quartet Ladytron to matching the pioneering Germans' mix of innovative electronic soundscapes, ultra-danceable beats and unforgettable pop melodies.

The group recently followed its promising 2001 album 604 with an even stronger disc, Light & Magic. Now it's touring the States for the first time, with the core members of keyboardists, vocalists and DJs Daniel Hunt, Reuben Wu, Mira Aroyo and Helen Marnie augmented by a bassist and a drummer. I spoke with Marnie by phone from the United Kingdom before the start of the tour, which brings them to Metro tonight.

There hasn't been a whole lot written about Ladytron in the States. Take me through how you came together.

Daniel and Reuben kind of knew each other from Liverpool from DJ-ing around, and they had gone to university there. They wanted to do something together and have a band, but they didn't really know what it was going to be like or what shape it would take. Danny met Mira at a club they were DJ-ing at, and they met me very shortly thereafter through mutual friends. I was kind of into the same sort of music, and I was DJ-ing, but I used to live in Oxford. We met up and got along straight away, and I think that was the main thing. We enjoyed what we were doing and we very much took it one step at a time. We'd do a song and try and release it. This was about four years ago, and the first album came out two years ago. We'd been releasing singles for a long time before that.

As strong as 604 was, it seems as if the group took a quantum leap with Light & Magic.

The first one was more of a collection of songs, and some of them had existed for a long time. This one sounds like more of a record because it was done in a much shorter time and it was done to be a record, whereas the first one we were just doing song by song. With this one, we had more of an idea of what we wanted to do, and also, because we got to know each other better over time, all of our personalities come through more. It just seems to work better.

There seems to be a fascination for all of you with the New Wave era and elements of the sound of acts like the Human League and Gary Numan.

To be quite honest with you, we're not fascinated by that era very much. We're fascinated by the '60s much more than we are by that era. The whole aesthetic thing is more like late '60s/early '70s, a lot more so than '80s. I think people identify with the '80s because of the synths. They came out in the late '70s or early '80s, and out of those came the New Wave things you're talking about. I love Cabaret Voltaire and stuff like that, but I'm not actually in love with Gary Numan. I like Kraftwerk, but they were a really weird band that was making really, really good pop tunes. Basically, we use old synths because we like the sounds that they make.

The sound is marked by your use of vintage analog synthesizers. Is it difficult traveling with those instruments and converting the currency?

It's really difficult traveling, because the synths tend to break down quite a lot. We did a two-week tour of England at the end of last year, and I think we had about three of them dying in the space of two days. They can be fixed, but it's just a bit worrying when you know you're relying on something that's 30 years old and you haven't got another and it's really difficult to find another one of that type. But it's also really difficult when you play because we're not relying on amplifiers, so everything is DI-ed [direct-injected into the sound system], and it's a really complex thing to get it like the records sound live because everything goes through the P.A. There's a lot of technical [crap] like that.

You could use modern samplers to replicate those sounds.

Of course we can sample them, but it just doesn't really feel proper. And also when you sample sounds, you're relying on what you've sampled, but when we do stuff live, we're playing around with filters and stuff like that, and you can't do that when you're using samples. It's more organic our way. We bought this mini-Korg thing, which looks like an old vintage instrument and we thought, "OK, we're gonna sample all this stuff down on to it so in case something happens we have it", but it's just not the same thing. If you have a late-'60s Les Paul, you wouldn't be happy with like a [cheap] Encore [guitar], you know what I mean?

Synth pioneer Brian Eno always talked about the beauty of the early analog machines and their ability to surprise you with the turn of every knob.

Yeah! They change as well. There's no way that you can get the same sound twice. Sometimes it's irritating, and sometimes you get these really great sounds. You can be really frustrated because you haven't got the time to spend 10 minutes before a song trying to get exactly the right sound, but sometimes it cuts through. Like if there's bit where I want it to sound like a really nasty sort of electric guitar, sometimes it really cuts through and fits really good, but other times you press the key and it's this weird noise that's really irritating. Plus they tend to go out of tune.

So there are some headaches.

Yeah, there are a lot of headaches! After the show, we're always going over what went wrong, but hopefully we can cure the headaches.

I remember having a similar discussion with Tim Gane and Laetitia Sadier of Stereolab a decade ago. Do you feel kindred spirit with that band?

We've got the same [roadies], the backline people. [Laughs] But yeah, definitely. They kind of approached pop songs in a way we liked. But otherwise, beyond that, they use quite a different format. I think we're maybe a bit simpler in our approach to electronics than they are. I think they're more avant-garde and we're more common and not as clever.

For Ladytron, it seems to be about the song rather than the sound in the end.

Yeah, for us it's all about the song. I really liked Stereolab when they were all about the song and not trying to be so clever. And we're all about rocking a bit more as well. I think that kind of comes across more live when we're thrashing about.

You've recorded some amazingly effective tunes--singles such as "Seventeen", "Blue Jeans" and "Playgirl". When do you know you've written a song that works?

When you live with the melody in your head before you've actually written it or gotten to record it. And other times, I used to get this when I used to smoke--if I needed a cigarette after a song, I knew I liked it.

Like after sex!

[Laughs] Yeah. But now that I'm not smoking, it's kind of really frustrating. But you just know it, I guess. I like all the songs that we've done, but obviously some of them work more as pop hits than others. But you don't think of whether it's going to work or not; you get an idea and you put it down, and if you like it, then you go with it and hopefully it works for other people as well.

Source

24 November 2012

Under the Radar interview (2008)

Mythical Beasts and Masterful Beats

"We're just going to go out and get drunk now", says Ladytron's Daniel Hunt, having recently approved the final master of the band's fourth record. "We've been organizing these album-wrap drinking sessions for about two weeks, and even though we hadn't finished the record, we just kept having them anyway. But this one's going to be definitive".

Ladytron have good reason to celebrate. When the Liverpool quartet emerged in 1999, their suits, synths, melodies, and Teutonic trappings clearly evoked techno pioneers Kraftwerk, leading many critics to deem them a nostalgic novelty act. Then came electroclash, a short-lived, New York-based fad that produced a flurry of like-minded bands, many of questionable quality. Ladytron and other such European acts were reluctantly lumped into this category, but Hunt and his bandmates Mira Aroyo, Helen Marnie, and Reuben Wu were able to weather the subsequent electroclash backlash by disproving their detractors; the band has consistently perfected their live shows and their studio productions.

The latest proof of their superior sonic prowess is Velocifero. The album shares its name with an obscure 19th century opera as well as an Italian scooter hyped for its flair, style, and simultaneously futuristic and classic qualities—all apt descriptors for any Ladytron endeavor. But regardless of its history, the name emerged from somewhere deep within the band's subconscious, initially as the title of a song that was cut from the record.

"The biggest shame about dropping that track was the name", says Aroyo. "It seemed to have a kind of urgency that we thought was relevant to the record. One of the guys who did our album cover thought that it sounded like a dinosaur. Or maybe some mythical beast".

Whatever its totem animal may be, Velocifero certainly has sharp teeth and a vicelike grip. With its assertive synths and rhythmic punch, Ladytron have moved away from the shoegazer echoes that resonated across their 2005 album, Witching Hour, producing a cleaner sound. While Hunt and Wu concentrate solely on their array of keyboards and consoles (save for a little gong action, courtesy of Wu), the ladies in the band continue to do double duty, playing synths and dividing vocal duties. Aroyo delivers her trademark bilingual deadpan (in English and Bulgarian), and Marnie provides her equally powerful yet relatively girlish counterpoint. But while the vocals and melodies have held steady, the rest of the album's sonic atmosphere appears to be in flux.

"It might be more of a departure than we actually realize at the moment", says Hunt. "It feels like a combination of the lessons we learned on the last two albums".

"On Witching Hour, we found a sound that we were happy with for the first time, but as a whole, it wasn't very diverse", adds Aroyo. "We hit on a formula of how to incorporate live drums and bass and guitars, and that's definitely still there—it gave us a lot of confidence and made us push ourselves a bit further. But with this one, we've tightened up some of the rhythmic elements and played with a wider variety of synth sounds, rather than relying on effects, reverb, and lots of washed-out guitars".

Recorded at the Studio de la Grande Armée in Paris, Velocifero was largely self-produced, with assistance from Andy Gardiner (aka Vicarious Bliss) of France's influential Ed Banger label, who had already remixed Ladytron's "Soft Power", from Witching Hour. Though Ladytron give their seal of approval to Ed Banger and the recent wave of hot French electro and hip-hop (Justice, Medhi, TTC, etc.), they're careful not to affiliate themselves with that scene, memories of electroclash still in the backs of their minds.

"We've never really cared about or been part of any trendy movements or felt competitive with other bands", says Aroyo. "We've got our way of working and we push ourselves within that space".

Hunt feels that the most significant outside contribution to the record came in the mix, by Los Angeles engineer Michael Patterson, whose credits include Beck's Midnite Vultures and several P. Diddy discs. But what really steered the band in a different direction was their own creative drive, not only to explore new sonic terrain, but to sidestep repetition.

"The worst situation to be in, if you're in a band, is to feel like you have to make the same record again and again", says Hunt. "That's gotta be soul-destroying".

"We have to amuse ourselves and reinvent ourselves, otherwise it's hard to keep this up over eight years", adds Aroyo. "But when you've been around for four albums, you also have the confidence and the freedom to change, so it becomes easier".

Ladytron's business matters have never failed to keep the band on their toes, with the constant folding of labels and forging of new deals on both sides of the Atlantic. In North America, Witching Hour was released by Ryko, which had bought out their previous label, Emperor Norton, but Velocifero has been picked up by the eager team at Nettwerk.

Having solid support in North America is of particular importance to Ladytron, because despite their distinctly European sound, they're one in a long line of bands whose fanbase is larger and more loyal here than on their home turf.

"The thing that really helps weirder bands like us is college radio", says Aroyo. "That's something that doesn't exist [in the U.K.]. Playlists on national radio are incredibly rigid, and very much orientated towards guitar rock bands with an NME story and lots of gossip behind them, or pre-fab pop, or hip-hop and R&B. [American] college radio is a lot more open-minded".

It also helps that Ladytron tend to tour the U.S. to death, filling up their aftershow time and days off with DJ gigs that allow them to meet even more fans than they would otherwise. With 31 dates set for North America alone to promote the June release of Velocifero, Ladytron have a lot on their plate this year. Clearly, the appeal of playing live hasn't worn off.

"I've enjoyed the last couple of tours a lot more", says Aroyo. "When we started, we thought we'd just make records. We had jobs, we had other things to do, so touring was really far down on our priorities list. Little by little, we realized that we needed to get good live. When we got good live, it really helped us to develop sonically, and touring became a lot more fun. A lot of people who come to shows don't really understand the kind of band we are until they see us live, and then things kind of click into place".

Source

15 October 2012

Muzik interview (2002)

A grimy cafe in the worn-out Ancoats area of Manchester is not typical Ladytron territory. Not if you believe that they are the synth-pop saviours of the universe, all Prada-Meinhof chic and arch pop tunes beamed down from the coolest planet in the galaxy.

"Only the best for Ladytron!" chirrups petite, Scottish vocalist Helen Marnie, who is pushing soggy batter around her plate. Her fellow band members, Scouser Reuben Wu, Danny Hunt, who moved to Manchester 18 months ago because he "felt like part of the furniture in Liverpool", and Bulgarian former genetics PhD student Mira Aroyo, sip tea and eat crisps. The setting may be mundane, but Ladytron are anything but. Poised in the space between fashionably famous and properly, TOTP famous, they're out to prove that everything you know is wrong.

"Everything we've ever done has been to be different", says Wu. "We always had the desire not to repeat ourselves".

Since launching the acclaimed 604 on Liverpool indie label Invicta Hi-Fi two years ago, Ladytron have inspired Felix Da Housecat's Kittens and Thee Glitz, caught the fashion world's attention (for the requisite 10 seconds) with their modish uniforms and Eighties-leaning synth-pop tunes and anticipated the entire electroclash blip. Oh, and they're all stupidly attractive, in an elfin, paramilitary way.

"I was in LA throughout the summer", grins pop-obsessed, 26 year-old founding member Danny, "and I kept getting phone calls telling me this electro thing was going on in England. I came back at the tail-end of it all and thought, 'We've missed it, whatever it was'".

Reuben, 26, serene and serious in an art-swirl jumper, nods. "It's a good time for us to put out (new single) "Seventeen". The whole thing has died down and we want to book-end it".

"The fashion people latched onto us, but that's not what we are", says Helen, Mira adds: "I appreciate it, but I don't like it, They want to try and shape the music and that's a problem".

Throughout summer, when a square mile of London believed electroclash would take over the world, Ladytron, named after a Roxy Music track and Britain's leading exponents of updated synth-pop sounds, were silent. Apart from the profile-busting Reading and Leeds gigs, DJ gigs including, oh dear, New York Fashion Week and a suitably intellectual gig at London's ICA, where they provided a live soundtrack to Disney's Tron — a film whose visuals are as stunning as the plot is stupid — they've kept to the background, working on what comes next.

"People say we came round too early for all the electroclash stuff, so while we liked it, we decided to maintain a dignified silence", says Danny.

"We got a lot of press without actually doing anything", agrees Reuben. They look at each other and smile, in an inscrutable, Ladytron kind of way.

They've every reason to smile enigmatically too. Their new album, Light & Magic, leaves behind the monochrome, totalitarian sonics of 604, sounding as if the robots have been taken out of a studio and into late-afternoon sunlight. "Seventeen" may echo the first album's poisoned-candy pop with lyrics like "They only want you when you're 17 / When you're 21 you're no fun", but "Turn It On" sounds like it fell off Daft Punk's Discovery in a far brighter parallel universe".

"It was meant to sound like Salt-N-Pepa", says Reuben, "but ended up more like a booty bass tune". "The top layer sounds like Genesis", deadpans Danny.

"Black Plastic" suggests The Cure taken to Chicago circa 1986 and "Evil" sounds like Saint Etienne crossed with The Human League. It's still autobahn pop, but there's more bass. The speaker-busting album opener "True Mathematics" started as a techno tune ("Techno people like us!" declares Reuben), but will now soundtrack Friday nights at the coolest clubs, especially when the hotly-anticipated Soulwax remixes are released.

In March this year, the band were given a choice: record their album in icy Berlin with remixer Tobi Neumann or in sunny LA with Beck producer Mickey Petralia. "It didn't take us long to decide", says Danny — LA it was. "Not to slag the place off because people there have been making this music forever, but everyone is doing Berlin. Its nice to go against the flow", says Reuben. And to enjoy the sunshine. "The music changed a lot, things just grew", says Helen. Mira agrees: "We wrote most of the songs in Manchester but found that dark music sounds even better in the sun. Joy Division sounds great in an open-top car". Ladytron have successfully coupled this with the very English transformation of sex and enjoyment into a dark, guilty pleasure.

"Everyone said there was loads of bad sex on the last album", says Danny. "There was supposed to be better sex on this one but I think it's probably worse".

Recording in LA is a far cry from their beginnings. In Liverpool in 1998, Ladytron were just an idea in Danny's head. "I told people I was in this band for two years before it existed", he admits. The boys had known each other for years, a friendship cemented in Liverpool's record shops and clubs. Danny ran club night Liquidation at Le Bateau, where Reuben played. The band originally claimed Mira and Helen met on a train in Bulgaria, but, in truth, it was through mutual friends. Now complete, Ladytron speed-recorded the 15 tracks that became 604. The record came out, Britain swooned. Muzik made it our Album of the Month.

The effect was even more marked in America. "We only had about £500 to promote the album there", says Danny. "But it got good reviews and we sold quite a lot without playing live". Things are now set to get even bigger for the 'Tron. "Seventeen" was released in America on tastemaker indie label Emperor Norton (whose current roster includes Felix Da Housecat) and outsold 604 in three weeks.

If Ladytron are studiously mute about their lyrics — "even though they're about real things that happened, we'll destroy the magic if we explain them", says Helen — they're positively secretive about their live show. "We'll have sword swallowers", deadpans Mira. "Fire eaters. Go-go dancers — Helen and I will have perfected our backflips and cartwheels". Yeah, right.

They are more forthcoming about their ever-expanding DJ sideline. Reuben and Mira have just returned from a US DJing tour and Helen is about to join the DJ ranks, too. But if you go to see Danny DJ, beware: "I've got kamikaze instincts after the frustrations of doing a weekly night. Now, if you're not dancing, fuck you! I can go off at a tangent and want to (Master of the Universe voice) destroy all!". Watch out, world...

Source (pages 56, 57, 58, 59) | Scans

11 September 2012

Chaos Control interview (2002)

Influences of early synth pop and electro are highly apparent in the music of Ladytron, but they are far from being a retro band. On their debut full length CD, 604, they successfully drew from the past to create a highly unique, futuristic sound. Their sonic palette often sounds like it could have been used to create an early '80s synth pop hit, but things would probably be much different today if bands from that era were able to create such infectious, sophisticated pop music as Ladytron.

Ladytron is comprised of Mira Aroyo (vocals/keyboards), Helen Marnie (vocals/keyboards), Daniel Hunt (keyboards/rhythm box) and Reuben Wu (keyboards/rhythm box). They recently released a new CD, Light & Magic.

The following is an email interview with Hunt.

How has Ladytron evolved from the initial formation to what we hear on 604?

We're more of a band, back then we hardly knew each other, it was all an experiment, we didn't know how things would progress. Now we have our setup better organized, our studio better equipped, for example we part-recorded "Movie" in a cheap studio in the same building as our label Invicta Hi-Fi. We wouldn't have to do that now, it's really liberating, to remove the time constraints of a studio and the opinions of the engineer from the process, to have indefinite time and space to record.

Where does the title 604 come from?

It's the area code for British Columbia... we're glad we've attached this strange importance to that number, it crops up everywhere now. We noticed when we stayed in Hamburg in Germany (in a hotel called "Commodore" - pure coincidence), that the number to phone reception from your room was '604'. Moments afterwards the building had caught fire and we were lucky to escape with our lives. I'm not joking.

What bands would you say most inspired you to make music, and who do you think had the biggest influence on Ladytron's sound?

Personally I can't remember, I suppose when I was a kid I was into Duran Duran and stuff like that, I got introduced to American electro like Mantronix, Newcleus, and Jonzun Crew through my older brother when I was about 10 years old. That was a massive influence, and I still listen to that stuff today, it has far greater mystique for me than English groups from that period.

Liverpool groups had some influence, Teardrop Explodes, Frankie Goes to Hollywood... later on in school I was into Jean Michel Jarre when the other kids were in their soft-metal phases... but I don't think any of these things made me WANT to make music, I think I just did anyway. I can't speak for the others obviously.

What are your favorite pieces of electronic musical equipment, and which do you think has the greatest effect on your sound and/or approach to composing music?

I love my Roland SH-09, it's all over the record. Mira loves her Korg MS-20, Reuben loves his Korg MS-10, But we record on a PowerMac, which has to be the most important item of kit actually. Steve Jobs gets a thank you on our album.

How would you compare the reaction you get from audiences in the various countries you've performed?

National stereotypes sometimes come out. I'd say Sweden was the most insane response so far, followed by Germany, the French are either ecstatic or very quiet, and the Spanish are narcofiends. We have enjoyed everywhere we've played so far, maybe because we never bother playing in England very much.

Do any members of the band have formal musical training?

Reuben and Helen have some classical training which has been completely disregarded in relation to this group. Their parents should be very proud after all that expensive tuition they paid for.

What's you approach to live performance? Do you have some backing sequences fixed, or are you able to play (or at least manipulate) everything live?

We play everything live but obviously we use drum machines and some bass sequences occasionally, things that are physically impossible to play, it would be pointless us trying to use a drummer and a bassplayer live just to fit into peoples preconceptions of what a band should be. We like the fact that our live setup is so different.

Do you think at all about live performance when you are writing/recording songs?

Not at all. I sometimes think "this would be good to play live" maybe, but I wouldn't want to limit our recordings by worrying about how to perform a song, live shows are momentary, records last forever.

How quickly do you tend to write/record? What does the ratio tend to be in terms of time spent composing, crafting sounds, and doing vocals?

Writing/recording/rehearsing is a single process for us, but personally, my songs knock about in my head for as long as possible before they're committed to tape in any way, as soon as you play a keyboard line, I feel like it has been defined, so I try and let the whole song develop in my head over weeks or months before I start building it up. It can happen very quickly, "The Way That I Found You" - Helen had sung that song once, before we got the take that's on the record, the song itself only emerged a week before we mixed the album.

Do you ever find that the electronic musical equipment gives you TOO MUCH control over things, to the point that you're not sure if a song is done?

You just need to keep stepping back and listening, I rarely tinker with something needlessly, I like our directness, I don't want to lose that simplicity on a track just because it's lived with us in our studio for a few months. It can ruin great tunes, you need to discipline yourself, it's the flipside of what I said earlier, sometimes you need to just turn off and go home.

You seem to be in a unique position because there's a heavy early '80s synth pop influence, yet at the same time you have a sound very much your own. What do you think the pros and cons are of people making the association?

Pros: a reference point. Cons: having to justify your existence every step of the way, I think it will not be an issue by the time we release our next album. We also get associated with groups we don't really feel any affinity with.

Our final word is always that we have some influences and instruments from that period, which we use to generate our version of right now.

How do you feel about the recent returns of such early '80s electronic pop bands as Soft Cell and Book of Love?

I suppose it's a little elevated over the cabaret circuit, I'd love to see Soft Cell live, but it's just the past, I hate seeing my idols looking torn down, onstage, caked in foundation...

What's in the immediate future for Ladytron?

European festivals, US Tour, "Playgirl" single, recording next album, laptops on the beach.

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