New Ladytron music coming soon

Daniel Hunt tweeted: "Just played new @ladytronmusic tunes to @andrewpmhunt - one of a handful of people who I would trust with the phones right now."

Ladytron tweeted: "This is as Christmassy as we ever got, yet. News *very* soon, we promise. xxxx".

New Marnie merchandise

Helen Marnie added new mechandise: a "G.I.R.L.S" t-shirt. Get it from here if you want one.

Marnie - Submariner (Electric Fields Weekender, 2017)

Marnie released the single "G.I.R.L.S"

The single "G.I.R.L.S" (taken from the excellent album Stange Words and Weird Wars) is available on 7" limited white and black vinyl at her Bandcamp page. There are just 150 copies printed.

Track listing:
Side A: G.I.R.L.S
Side B: Lost Maps (HQFU remix)

Marnie - Lost Maps Remixes

In 27 October, Helen Marnie released a 5-tracks EP with remixes of "Lost Maps", one of the highlights of her excellent second solo album, Strange Words and Weird Wars. You can buy it from her Bandcamp page.

1. Lost Maps (HQFU Remix) – 03:27
2. Lost Maps (-La Roc- Remix) – 03:57
3. Lost Maps (John Baillie Jnr Baby Diego Remix) – 05:23
4. Lost Maps (John Baillie Jnr Baby Diego Remix Dub) – 05:23
5. Lost Maps (John Baillie Jnr Baby Diego Remix Radio Edit) – 02:58

Erasure - Love You to the Sky (Ladytron Remix)

Maja Magazine interview (2009)

Ladytron: sensual synth

In the music industry, a fourth full-length album validates the staying power of any music group; thus have Liverpool, England-based electro pop band Ladytron, proved able to leave fans demanding more. As the band — Mira Aroyo, Helen Marnie, Reuben Wu and Daniel Hunt — prepares to release Velocifero this summer, they reflect on the gradual changes that have taken place since it all began in 1999.

"We started out a really long time ago; it kind of felt like we were kids when we started," laughs Mira, who was born in Bulgaria and holds a biology Ph.D from Oxford University. "We didn't have a clue it was going to go the way that it's gone. We didn't really have any big plans or ideas. It started off as a fun project and it basically turned into our lives. Musically it's just grown immensely."

After the foursome found their calling they were off and running with 2001's debut release, 604. It was with this synth-pop record that imitators began springing up, nevertheless leaving Ladytron to shine in a light all their own. Through vintage analogue equipment and hours of experimentation, Ladytron achieves their distinct sound.

"We just try and be ourselves," Reuben explains. "For us it's natural and instinctive to produce music the way we do. I expect that if I was in a different band I would find it very difficult to come up with the Ladytron sound. It's a magical combination of many things."

"We put things through keyboards and a lot of distortions and delays to the point where you can't really distinguish live drums from programmed drums or keyboards from guitars. I think what distinguishes us from a lot of live bands is that we do write things with an electronic means. We don't start writing songs by jamming out to the guitar and then converting them. It's always about sitting down and having these instruments around you," Mira adds.

After 604 came 2002's Light and Magic, followed by 2005's much-praised Witching Hour, with hit singles "Destroy Everything You Touch" and "Sugar." Between albums, Ladytron developed their live show, doing DJ sets and performances in what seemed to be a constant state of travel—touring Argentina, Brazil, North America (on Gwen Stefani's Harajuku Lovers tour), and Europe (opening for Nine Inch Nails).

"The way that we are live really helps us grow musically," Mira said. "This whole touring experience is really getting to know each other more personally but also, more importantly, musically."

"When we started working on Light and Magic I suppose we'd become a proper band at that point," Reuben added. "Some people perceived the sound of our music as being a bit darker with slicker production techniques, and we went a stage further with Witching Hour. By that time we'd done a hell of a lot touring, and I think it was that critical point when we realized we were a different band from what we were when we started out."

Witching Hour has been described as Ladytron's best album – but with Velocifero following, it's apparent they intend only to get better. After being recorded in Paris, the new release includes collaborations with Vicarious Bliss and Alessandro Cortini of Nine Inch Nails. The innovation and emotion in this particular album radiates through songs like "Ghosts," "Black Cat" and "I'm Not Scared." Velocifero also marks the first release with the band's new label, Nettwerk.

"The new songs are really quite different from each other. It was hard for us to pick singles," Mira said. "It's a leap forward from Witching Hour. We were more interested in making different sounds, in getting different sounds from keyboards rather than just tweaking tracks after with effects. Rhythmically I think it's much more diverse and much more interesting."

"The new album is really exciting," Reuben said. "I think it's a stronger album; I think there are more songs on it with the potential to be people's favorites. Obviously the band has moved on and branched out in different directions, but at the same time there are a lot of songs which have a familiar sound that people know from the previous albums."

Now that the fourth album is complete, Mira and Reuben both say Ladytron is getting ready for the extensive tour they have scheduled throughout the summer that, so far, include Europe, Canada and the U.S. Mira said they're also beginning to talk already of another album following in quick succession with songs held back from Velocifero that will be "a bit weirder and more downtempo."

And how does Ladytron see itself when it comes to fitting into the current state of pop music?

"We kind of occupy a space on our own," Reuben explains. "I don't think there are any bands out there who are similar to us. I think we stand alone; we've been on the scene for a really long time now. I think we're in a really good position because we're seen as a band who would go out and do their own thing."

"From when we started it's a lot more diverse, people are using a lot more mixtures of sounds," Mira said. "I think that with Witching Hour we basically gained a lot of confidence because electronically it was just a lot thicker than previous albums. It seems like we're kind of on a train now, forging through."

Source

Chevette - We Can Dance Again

Before Ladytron, Daniel Hunt had a project called Chevette and released a couple of singles in 1997: "Everything Changes at 6" and "We Can Dance Again". The song "Ladybird" is from that time. They got a little exposure when the famous DJ John Peel played "We Can Dance Again" on the radio. By the way, this song is a Pulp cover.

Fred Perry interview (2017)

Name?
Marnie.

Where are you from?
Glasgow, Scotland.

What do you do?
Singer/Songwriter.

Describe your style in three words?
Prudish with ruffles.

You can make a record with anyone from history who would it be and why?
Michael Jackson, because I was somewhat obsessed and amazed by him. When I was a kid my next-door neighbours swore he was a robot. I kind of believed them.

What British music icons inspire your sound today?
My other band, Ladytron.

You can spend an hour with anyone from history?
I like divas, so this is a hard choice. But perhaps Maria Callas. She was opera's controversial star, unique in her singing style, beautiful, and scandalous. I reckon it would make for a good chat.

If you could share the bill with any British band in history?
I've been lucky enough to share bills with a lot of brilliant bands already, but probably Broadcast. Their record The Noise Made By People was a constant for me at university and their lead singer left this world far too soon.

What music did you listen to growing up?
I listened to pop and rock along the lines of Madonna, Guns N' Roses, Prince, and ABBA.

What was the first song you played on repeat?
"Joe Le Taxi" by Vanessa Paradis. I taped if off the chart show on the radio and used to prance around my room imagining I was a little French pixie like VP.

One record you would keep forever?
"Some Velvet Morning" by Nancy & Lee. I was introduced to this album towards the end of my university course, and I guess it was a game changer. I loved how the voices worked together.

A song from your favourite album?
"Go Your Own Way" by Fleetwood Mac. It's so easy to just lose yourself in this song and believe you're capable of anything.

A song you wish you had written?
"Video Games" by Lana Del Rey. It's so simple, it's brilliant.

A song that defines the teenage you?
"Slight Return" by The Bluetones. When I was 17 I discovered The Bluetones. When you find something yourself at that age, it feels like you own them. I got the bus from Aberfoyle in Stirling, to Paris with a friend, just to see them. It was my 18th birthday present.

What was the last piece of music you bought?
"Naive to the Bone" by Marie Davidson.

A song lyric that inspires you?
"We don't have to take our clothes off to have a good time." Jermaine Stewart.

Is there a song you like that people wouldn't expect?
I'm not sure what people expect really because the music I've made or been a part of has been quite diverse. "Maneater" by Nelly Furtado.

Best love song of all time?
"Tiny Dancer" by Elton John.

Best song to turn up loud?
"Enjoy the Silence" by Depeche Mode.

Best song to bring people together?
"You Got the Love" by The Source & Candi Staton.

4 songs you can't stop listening to right now?
"Body" by Bossy Love
They are one of the best live bands in Glasgow right now and keep putting out tracks that are great fun.

"Familiar" by Agnes Obel
This song is beautiful and I was blissfully unaware that it was not a duet. Only later did I realise she has manipulated her own voice to create a deeper, male-like vocal.

"Stupid Face" by Haley Bonar
I've had on repeat in my car for months. I find Haley's voice so soothing against the indie guitar sound.

"Dust & Dirt" by HQFU
I happen to be friends with HQFU (Sarah J Stanley) and she also plays with my band, however, I am not biased. She makes brilliant electronic music and I love the juxtaposition of the music and her sad, soft, voice which sounds like Tracey Thorn's sister.

Source

Herald Scotland interview (2017)

For Helen Marnie's new album, Strange Words and Weird Wars, let's start not at the beginning or the end but firmly in the middle. Halfway through the Ladytron vocalist's sophomore solo release is "A Girl Walks Home Alone at Night". Although not inspired by the 2014 Iranian vampire film of the same name, there's a shared sense of horror.

"It's a horrible song, about a nasty and harrowing experience," says Marnie, sitting in the far brighter surroundings of a Glasgow city centre coffee shop.

"It depicts a really dark scene of a girl being alone at night. It was one of those experiences where you think that you could have died, and what would have happened if you'd made a different decision. It's a creepy feeling, where you are lucky enough to be able to tell the story and write these lyrics, but at the same time even thinking about it makes your skin crawl.

"It was something that I think needed to get out there. I thought 'this makes my skin crawl – that's perfect writing material'."

The track is certainly a jarring piece of menacing, noisy synth pop but that isn't to say this is a dark, brooding record. Instead it is filled to the brim with pop music, from the Prince-inspired "Electric Youth" to the surging Bloom and throbbing electro of "Lost Maps". In short, it suggests a woman who has more confidence and a better understanding of what music she is wanting to make.

"Crystal World was quite soft, and I think it felt introspective, very personal and emotional," she says.

"I'd kind of had it with that. I think the album was great but I had to do something different. So it was a case of working with [producer] Jonny Scott on beats. I wanted something harder, that you could feel more, something more uptempo and danceable.

"When you use the word 'pop' people frown, as if 'that's rubbish', but if people have a problem with that then they can get over themselves because there's so much great pop out there – Prince and Bowie were pop at heart."

It is also pop music that has an emotional core. The record has a couple of recurring themes throughout, linked to getting older and reflecting on life, and the changes within it.

"I think the two big themes on there are love and mortality," she says.

"There's love affairs and things that don't work out, and obviously mortality comes into the record on a few occasions. I guess that relates to love as well. It's not just those two themes, there's a bit of harking back to lost friendships, when you don't really know why they were broken.

"You become aware of your own mortality and that of those around you, and that plays a part in what you write about, even if it's morbid."

Perhaps the album's confidence suggests that Marnie herself is more comfortable these days too. Her first solo record came not long after she had moved back to Scotland, following close to two decades in England, first in Liverpool and then London.

After a year or so living in Govanhill, she's now been settled in Pollokshields for the past few years.

"I was in London for a long time but I always knew I didn't want to end up in London. I'd planned to be there for a couple of years, and then suddenly realised I'd been there 11 years, and it was just too much.

"I really like Pollokshields as an area, because there's all these places opening up, bars and cafes and that. It's like a wee hub. I don't really think Glasgow has changed that much over the years to me – even somewhere like the Barras, it's now got things like the BAAD design centre, but that whole area still hasn't really changed in forever."

Things staying the same isn't always a good thing, of course. Despite a growing upsurge in women in the music industry, Marnie is still finding that many tired old attitudes won't shift.

"You still get people, and not just men but women can do this too, where they see a man in the band and automatically go to them, and act like they're in charge. You'll be like 'err, it's me you need to speak to here. Why on earth would you think that the man in the band is in charge – this is my band, so speak to me'.

"I guess people need to change their ways and really think a little outside the box. The more women that get involved in any position in music can encourage others to get involved, and they can relate to them."

That is a depressing state of affairs, considering the length of time Marnie has been making music. It was when she was living in Liverpool that she joined Ladytron, the futuristic synth-pop band ahead of their time, given the dominance of synths in the charts these days.

"Chart music is just full of it, and you can't get away from synths there now. I feel like, on the other hand, guitar music is now having a comeback with all the indie bands – there's a lot of girls with guitars in bands it feels like, and that's what is getting played a lot on 6 Music rather than electronic music.

"Electronic music as alternative music has changed quite a bit in the last few years because the charts have taken it on so much. I guess people's technical abilities to produce music have changed too, so these mass-produced chart records aren't that organic, it's more soft synths."

Despite all the earlier talk of broken friendships and facing up to mortality, Marnie herself seems to have plenty of that pop spirit in her. She's confident about Strange Words and Weird Wars and in an upbeat mood, even when the biscuit she's eating takes an impressive dive into her coffee at one point. Despite the record's lyrical themes, is she still an optimist, a romantic?

"I'm a romantic at heart," she says.

"I'm a Pisces so I'm a total dreamer and I had my head in the clouds when I was younger. I'm more realistic now but I was very carefree in my twenties and didn't think about repercussions. I just took risks.

"Then people start to get a bit more responsible, although I'm still not that realistic in how I think. I'm still a bit silly and that's the dreamer in me."

Let's stick with dreaming to finish things on, then. What does Helen Marnie dream of for Strange Words and Weird Wars?

"World domination is still there," she laughs.

"The whole thing about making music is that you hope people will listen to it. I feel I've made a great album and I want as many people to listen to it as possible. I don't want to be Beyonce or anything like that, but if I can get the music out there to as many people as possible then I'd be happy. Why else would you make music?"

Source

All "Strange Words and Weird Wars" lyrics added

Visit Marnie's lyrics page to read all the new lyrics. Plus the older ones.

"Strange Words and Weird Wars" is out now!

You can buy it from iTunes and Bandcamp.

Marnie - The Quay Sessions, BBC Radio Scotland, 2017

Track listing:
1. Intro
2. Alphabet Block
3. Lost Maps
4. Interview
5. The Hunter
6. G.I.R.L.S
7. Heartbreak Kid
8. Electric Youth
9. Submariner

Download

"Electric Youth" music video

Marnie premiered the video for "Electric Youth". Helen is sporting a nice red keytar.

Marnie premiered the third single, "Electric Youth"

Listen to it here.

"Strange Words and Weird Wars" is available to pre-order

Helen Marnie's forthcoming album "Strange Words and Weird Wars" is available to pre-order on her Bandcamp page. The album will be released on 2nd June on Disco Pinata on 4 formats:
- digital (MP3, FLAC and more);
- CD-R (limited edition: 150 copies);
- clear vinyl with double-sided insert (limited edition: 500 copies);
- black vinyl with double-sided insert (limited edition: 500 copies).

Marnie - Lost Maps (Live at Five, STV Glasgow, 2017)

Playboy interview (2017)

Ladytron fans have been patiently waiting for a follow-up to the band's mesmerizing 2011 album Gravity the Seducer, and it seems they're going to have to wait a little bit longer. During the band's ongoing hiatus, creative juices are still flowing strong with lead vocalist Helen Marnie, who's been keeping busy with various solo efforts. First, there was 2013's Crystal World, a synth-filled dream-pop album, and next up is Strange Words and Weird Wars, yet another electro-fueled outing showcasing Marnie's signature brand of upbeat, melodic modern pop as well—as a few '80s inspired throwbacks. The new album doesn't drop until June 2, but we have the new video for her next single "Lost Maps," one of the album's few somber moments, premiering exclusively right here on Playboy.com.

We also managed to have a chat with Marnie about the mysterious meaning behind the video's story, why it took so long to get this new record out and the big burning question: What exactly is going on with Ladytron?

I want to talk about this new video for "Lost Maps." You only show up for one scene. Who came up with the concept for the video?

I explained to the director [Tim Courtney] what the song was influenced and inspired by, initially. And then he decided to take it in that direction and use it as the theme for the video. I didn't mind not being in the video. It was deliberate. It just felt like, "Do I need to be the protagonist in the video?" For me, I'd rather have the story told by other people, but I would have a little cameo.

In your one scene, you appear to have a green arrow, pointing upward, painted on your face. Is there any significance to the makeup?

It's just silly, really. That was my idea. Just to refer to geography and maps. I was like, "Can we have a bit of color?" Because it's quite dark. In that tiny scene I am in, I just wanted there to be a little bit of light relief. And it does refer to the "Lost Maps," so that's why it's there.

You mentioned you told the director what the song was influenced by. Care to elaborate?

I don't like being so specific. It's hard, because then it becomes a thing. If I tell you what it was inspired by, then people can't make up their own minds and they won't see anything else in it. Do you want me to tell you what it's inspired by?

Well, I wouldn't mind hearing a little bit, but I do agree that it's nice to let viewers interpret it their own away.

When I wrote the lyrics, they were influenced by the refugee crisis, when the boats were up on the shores and that image of the child who drowned, so that is the essence of the song. That's the angle that the director took, but we wanted to be a bit more ambiguous, so you don't really know where she's come from, or what her situation is, but she's trying to get somewhere that's really important to her. So there is a story, a beginning and an end, but you're not sure what the situation is.

Crystal World came out in 2013, followed by a standalone single and video for "Wolves" which came out in 2014. "Wolves" was intended to be a part of this record, which is no longer the case. Is there a reason why there was such a long delay?

We had some problems during the making of the album. The album was probably ready last summer—completely mixed and finished in June. So there have been a little bit delays. It was timing as well—trying to time it right. I've got a label behind me now, so that gives a little bit of a push financially. If you don't have a label behind you, you have to do it all yourself.

Do you have a favorite track on this new record?

My favorite track at the moment is "Electric Youth." It's really fun to play it live. I look forward to playing it in front of people. It's kind of an '80s track—really '80s. [Laughs] Almost too '80s. It's fun and light, because there are some darker areas on the album. For me, this is the fun song. And compared to my last album, it's much more upbeat.

I'd say "G.I.R.L.S" is the most Ladytron-esque of the bunch. Because your voice is so recognizable, sometimes it's easy to say your solo music sounds like Ladytron. What do you think are the major differences between Ladytron and Marnie?

I'm really surprised when people say things like that. A song like "G.I.R.L.S" is so tongue-in-cheek. I don't know if Ladytron would make a track like that. Maybe that is because I've been in that band for over 16 years now. I really do think it's different. The instruments seem not so different but I think the way it's produced and mixed is different. In terms of my voice, it's a little different only because I am singing in a different way on some of the tracks. Some of it is kind of falsetto high and generally with Ladytron, I would stick to my lower register. It's also not as layered as Ladytron. In the mixing with Ladytron, my vocals tend to sit really far in the back so the music is upfront, which is great; I love that. But on this, I think it's the other way around.

Are you enjoying the creative freedom of being a solo artist? I would imagine there are fewer cooks in the kitchen, so the diplomatic process that comes with having bandmates is gone.

[Laughs] Solo is much easier. I'm in control. I can decide. If I've written something good and I think it's good, I don't need three other people to tell me if it's good or not good. Working with someone else outside the band, for me, is great because that brings in a different point of view. It's completely fresh. It's kind of liberating. It's just me, so there's no one else to fall back on. I'm putting new songs out there, so if people don't like it, there's no one I can hide behind.

Do you plan to tour the U.S. to support this new album?

I'm trying to work it out now. I would really love to come to the U.S. That's where Ladytron has had the best gigs in the past. I've never played any gigs just as Marnie there, so that's one of my ambitions this year. I'm due to be playing Mexico at some point this year, so I am hoping I can possibly tack on the U.S. after those dates. We'll have to wait and see.

Would you ever consider doing an anniversary tour for one of Ladytron's signature albums? A lot of bands seem to be doing that right now.

I think that can happen. I think it would probably have to be Witching Hour. I think that's the album people would request the most. If they offered us lots of money, we would do that.

Now I have to ask the big question. Ladytron's last album came out six years ago. Since then, you've done these two solo projects. When the lead singer of a band goes off and does a side project, it tends to raise eyebrows. But when they do a second one in a row, it raises alarms about what might be going on with the band. Can you clear the air for the fans on where you stand with Ladytron?

I know, I get this a lot. It's a little bit frustrating because I'll post something on my socials about Marnie. It'll be on my Marnie page, it's not on the Ladytron page, and they'll always respond with something like a sad face or "No Ladytron?" And I'm like, "Well, you know, this is the Marnie page." [Laughs] But Ladytron just isn't ready yet. Everyone's been doing their own thing. It gives me time to concentrate on this new album. I've been working on this record for two years, so that's my priority. The process of making a record takes quite a long time, so if I put two years of work into that, I want to do it justice. Although, we [Ladytron] have worked on a little bit together. That was just in November, I think. It's just not ready to go yet.

Okay, good to hear. I think some fans were starting to fear that Ladytron might be calling it quits. It reminds me of when Dave Gahan first started doing solo records and Depeche Mode fans got worried that the band was going to break up. But now he's done several solo albums and the fans got used to him going back and forth. I guess Ladytron fans needs to get used to you doing the same thing.

Fans of Ladytron don't need to worry. They just need to be patient.

Source

Marnie premiered the second single, "Lost Maps"

Helen Marnie announced the first gigs of this year

29 Mar: Les Femmes S'en Mêlent OFF, Paris, France
26 May: Hidden Door, Leith Theatre, Edinburgh, Scotland
09 Jun: Oslo Hackney, London, UK
01 Sep: Electric Fields, Dumfries & Galloway, Scotland

More to be announced.

Fame Magazine interview (2017)

Hi Marnie, how are you today?

Good, thanks. Monday's take a bit longer to get into gear though.

Tell us about your latest track "Alphabet Block".

It's the first track from my new album Strange Words and Weird Wars, and it's a co-write with my producer Jonny Scott. I think it pretty well encapsulates a moment of fear and anxiety, with Glasgow as its backdrop.

The track is taken from your forthcoming album Strange Words and Weird Wars, what can people expect from the record?

I think they can expect a departure. I wanted to, at least on the surface, move away from the overly emotional feel I had with my previous album Crystal World. So SWWW, is much more upbeat and fun. It still has a lot of depth, but it's just a different approach.

What inspired you to pursue music full-time, did you always have a desire to write and perform?

It's all I've ever done, so it's all I know! As a child I did fancy myself as a bit of a performer, be it acting or music. Quickly though, I learnt I had zero acting talent. Music on the other hand, was always something that had come quite easily to me. In my late teens I did write lyrics (that would never be shown to anybody!) but it wasn't till my mid twenties that I started trying to write songs properly. When I hit my 30s I realised I was actually ok at songwriting. It's a confidence issue. I never thought I was any good. But now I know I can be. That's what keeps me going. I get a thrill when I know I've written something great.

When composing music how does the writing process work for you?

It all depends really. Sometimes I'll start with the music bed, sometimes just drums. Other times I'll have a lyrical idea in my head. On Strange Words and Weird Wars there are quite a few co-writes with Jonny Scott where he would start with the music bed and I would then write the melody/topline and then lyrics. It's all done pretty simply in my home studio. Just my laptop, mic, and a MIDI keyboard to start.

You spent a lot of time in Liverpool, how did your time their influence you musically?

My time spent at Liverpool was my University years. Much as I would love to say I was a good student, I wasn't. I was much more interested in going out, meeting people, and having fun. In that respect, Liverpool was great. There were so many clubs and bars back in the late 90's and you could always find music if you wanted it. Liverpool is where I met my band Ladytron, so I guess that played a massive part in forming my musical future.

How does it compare with the music scene back home in Glasgow?

I haven't been back to Liverpool for quite some time now so I'm not really up on the current scene. I played FestEvol last year, but it was such a flying visit that I had no time to hang out. Glasgow, on the other hand, is my home now and has been for the last 4 years so I have a much better grasp of that scene. I love it. It is literally brimming with music and I've met some super talented people since moving here. At the moment the Celtic Connections festival is on, and in one week I saw a gig by HQFU, which is melodic house, followed by Kirsty Law's quirky Scottish trad folk. That pretty much sums up Glasgow.

If you could play in any band or with any artist past or present who would that be and why?

Wow. It's hard to choose. I'd like to sing on a Prince track, just because. I don't think that needs any explanation. I also would've liked to play with Michael Jackson on his Dangerous tour because then I would've got to see him take off on his jet pack.

Describe your sound in 5 words.

Dark Wave Electro Pop Music

Source

Almost Predictable interview (2017)

Helen Marnie's solo work to date is a wonderful thing with her debut album Crystal World and standalone single "Wolves" both must haves in anyone's collection. Her new solo album Strange Words and Weird Wars, released under her solo guise Marnie, is due out on 25 March and it's been preceded by the gorgeous single "Alphabet Block". The track is as fine an examples of synthpop as you'll hear at the moment, showing the many artists who have been influenced by her solo work and, of course, her work with Ladytron, just how this type of music is done.

Mixing a new poppier direction with shoegaze and dream pop influenced electronics, "Alphabet Block" is a powerful, mesmerising track that demands repeated plays. The verses and the chorus juxtapose perfectly with the former's darker feel giving way to the shimmering space of the chorus magnificently. As you can hear below, "Alphabet Block" is a special track and one you're going to love. It's a great taster for the album too and that record is going to be one of the must hear releases this year. You don't want to miss it - once again, Glasgow proves itself to be the new home of electronic music.

I had a quick chat with Marnie to find out a bit more about "Alphabet Block".

Welcome back Marnie! "Alphabet Block" is quite a way to announce your return. Tell us a bit about the song.

Thank you. It's great to be back! The song is a co-write with producer Jonny Scott. He produced the album Strange Words and Weird Wars and I've been working with him since I wrote "Wolves" in 2014. I thought "Alphabet Block" would be a good album opener, a little sneak peak at what to expect. That being said, the album is quite different to "Alphabet Block". AB is a wordy little number, which I would describe as shoegaze electropop. I love all the swirling guitars and arpeggiators. Lyrically, it's actually really dark. I wrote it at a time of personal uncertainty. However, I think it does come across as warm and that is due to the instrumentation.

The song has a real classic synthpop feel to it. Does the song represent a move towards a poppier sound generally?

I would agree with that, yes. It's funny, when I did my last album Crystal World, a few people advised me not to move in that direction. As in, I'd be wrong to do that. So, this is basically my 'fuck you' to them. Nobody should ever tell me what kind of music I should make. I can make my own decisions and create whatever I want.

Were there any particular influences in mind when you wrote the track? The chorus has a real dream pop feel to it for example.

Because the verses are so lyrically full, it was important for me create some space and depth with the choruses. And I did that be introducing that dreamy vocal feel. Elongating the words. Creating more breath and layering the vocals. The guitars also give a sense of space. I like that the song enters like a club track, but then completely changes and transforms into something different.

Looking forward, your second solo album Strange Words and Weird Wars is out in March. Can we expect a similar, more pop focused approach?

I can't tell you how excited I am to finally have the album coming out. It will be over 2 years in the making. And, as seems is usual with me, not everything went as smoothly as I would've wished. It's definitely a pop effort, there is no denying that. But I think there's also a lot more to it than that. It's intelligent, it's melodic, it's not overly produced, it's guitars, it's synths, it's my voice, and it's a good ride. I'm hoping people will be pleasantly surprised.

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Thanks very much to Marnie for taking the time to have a chat. As I've mentioned earlier, Strange Words and Weird Wars is destined to be an album that a lot of you are going to love this year. "Alphabet Block" is a wonderful way to reintroduce yourself to Marnie.

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The artwork and track listing of Strange Words and Weird Wars

Track listing:
01. Alphabet Block
02. Bloom
03. GIRLS
04. Electric Youth
05. A Girl Walks Home Alone at Night
06. Lost Maps
07. Summer Boys
08. Little Knives
09. Invisible Girl
10. Heartbreak Kid

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Helen Marnie is back with the single "Alphabet Block"

Helen Marnie is back with a great new single titled "Alphabet Block" from her upcoming second solo album Strange Words and Weird Wars (to be released on 25 March). This single premiered today on PopJustice. According to the press release:

The ability to effortlessly play with genres becomes more and more apparent as you work your way through what is such a sonically impressive record. Tracks such as album opener, the unashamedly melodic "Alphabet Block", nods to contemporary pop artists; think an electro-pop fusion between La Roux and Kylie. "Girls" expertly creates the immediacy of Ladyhawke's best work, with "Electric Youth" channeling 80's mall pop; a glorious guilty pleasure and one of the stand-out tracks on the album. Introspection comes in the form of the shoegaze-inspired "A Girl Walks Home Alone at Night", giving the air of an unreleased b-side from a cult vampire movie, while forthcoming single "Lost Maps" is a pop classic in the making; a single that should be heard on dance floors all over the world.

After moving back to Glasgow in September 2012, after many years living in London, Marnie continued to write music following the success of her solo project and subsequent album release in 2013. Influenced by life, love, loss, politics and all things 80's pop, Marnie has created an album that has an intelligence and a depth behind what, on the surface, is a melodic contemporary pop record. With support having already come from tastemakers like Pitchfork, Pop Matters and Under the Radar, Marnie will be looking to build upon this through the release of her second solo record; an album that will rightly be deemed one of the most anticipated of 2017.

Update about Helen's new solo album

"After five albums as lead vocalist of Liverpool electropop quartet Ladytron, Glasgow-born and based Helen is busy working on the follow up to her successful 2013 debut solo album Crystal World. Working with producer Jonny Scott, Marnie has labelled album number 2 'a war between digital and analogue' choc full of vintage synths. A recent video shoot in Arrochar suggests it won't be long until she is back with new material in early 2017".

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