16 June 2011
New song, "Ambulances"
Ladytron premiered a new song titled "Ambulances", from the forthcoming album Gravity the Seducer. Listen here.
12 June 2011
Gutter Magazine interview (2011)
Celebrating 10 years as a successful dance/pop quartet, Ladytron released their 'Best Of' compilation in late March of this year, and are currently in the midst of a UK Tour to commemorate their work since forming in 1999. Their forthcoming album, Gravity the Seducer, is scheduled for release in September. Singer Helen Marnie reflects on the last decade exclusively with Gutter Magazine.
Releasing a 'Best Of' collection is quite an achievement – what is your proudest moment as a band so far?
It is quite a milestone. Really, I'm just happy we've made it this far, and have managed to carve a path for ourselves over the last 10 years. We've had highs, and lows, but we've managed to come through them as a band. It's a bonus that we still talk to each other, and continue to be friends.
Does Ladytron have more to contribute?
We definitely have more to contribute, and I hope people will want to listen. We really enjoy getting into the studio and hearing our songs develop, and on the live stage it's always great to play new material.
You've paved the way for artists including Lady Gaga and La Roux, but who inspires you?
I always find the 'inspiration' question kind of strange. I like many different artists and genres, but I don't think they inspire me when I'm sitting down and writing music. It is subliminal, I guess. At the moment, I'm enjoying what Yeasayer do – they're fun and they make me want to move my body.
Is it more difficult to achieve recognition and success when you play the music that you do?
Ladytron has never been mainstream, and I am grateful for that. We have managed to be successful in our own right without all the hassle that comes with fame. We've had plenty of recognition over the years, but Ladytron will probably never appeal to the masses. It's more of an acquired taste.
For all the Ladytron virgins, what can they expect from one of your gigs?
Well, the gig will be LOUD!!! We always crank it up as much as we can. Expect lots of synths, but please don't expect us to smile. If I see something funny, I'll laugh, however singing and smiling at the same time don't mix.
How has your music changed since you first formed?
The entire music world has evolved and changed. Labels are pretty much no more. The internet has taken over. It was pretty much indie rock when we started out. It seems that mainstream has taken a complete U-turn and the way we were doing it back in 1999 is now the norm.
What were your hopes/aims when going to record Gravity the Seducer?
Before we went into the studio, we expected Gravity to turn into an atmospheric record, more coffee table, perhaps. However, you cannot tame the beast! It is different from our previous albums, more mellow, but the pop element is still there. As an album, it just soars, and the songs seem to belong together.
What's next for Ladytron?
Apart from a few summer festivals in Europe, we undertake a small UK tour in June. We've also got a US tour lined up for autumn.
Published: 9 June 2011
Source
Releasing a 'Best Of' collection is quite an achievement – what is your proudest moment as a band so far?It is quite a milestone. Really, I'm just happy we've made it this far, and have managed to carve a path for ourselves over the last 10 years. We've had highs, and lows, but we've managed to come through them as a band. It's a bonus that we still talk to each other, and continue to be friends.
Does Ladytron have more to contribute?
We definitely have more to contribute, and I hope people will want to listen. We really enjoy getting into the studio and hearing our songs develop, and on the live stage it's always great to play new material.
You've paved the way for artists including Lady Gaga and La Roux, but who inspires you?
I always find the 'inspiration' question kind of strange. I like many different artists and genres, but I don't think they inspire me when I'm sitting down and writing music. It is subliminal, I guess. At the moment, I'm enjoying what Yeasayer do – they're fun and they make me want to move my body.
Is it more difficult to achieve recognition and success when you play the music that you do?
Ladytron has never been mainstream, and I am grateful for that. We have managed to be successful in our own right without all the hassle that comes with fame. We've had plenty of recognition over the years, but Ladytron will probably never appeal to the masses. It's more of an acquired taste.
For all the Ladytron virgins, what can they expect from one of your gigs?
Well, the gig will be LOUD!!! We always crank it up as much as we can. Expect lots of synths, but please don't expect us to smile. If I see something funny, I'll laugh, however singing and smiling at the same time don't mix.
How has your music changed since you first formed?The entire music world has evolved and changed. Labels are pretty much no more. The internet has taken over. It was pretty much indie rock when we started out. It seems that mainstream has taken a complete U-turn and the way we were doing it back in 1999 is now the norm.
What were your hopes/aims when going to record Gravity the Seducer?
Before we went into the studio, we expected Gravity to turn into an atmospheric record, more coffee table, perhaps. However, you cannot tame the beast! It is different from our previous albums, more mellow, but the pop element is still there. As an album, it just soars, and the songs seem to belong together.
What's next for Ladytron?
Apart from a few summer festivals in Europe, we undertake a small UK tour in June. We've also got a US tour lined up for autumn.
Published: 9 June 2011
Source
11 June 2011
Ladytron - KCRW, 2006
Format: MP3, 128 kbps CBR (the original audio stream)
Note: I added tags with MP3Tag. You can watch this live session here.
Track listing:
1. Intro
2. Destroy Everything You Touch
3. International Dateline
4. Soft Power
5. Sugar
6. Interview
7. High Rise
8. Fighting in Built Up Areas
9. The Last One Standing
Download
This Is Fake DIY interview (2011)
Named after the Roxy Music song of the same name, Ladytron are one of the spearheads of Noughties New Wave and electronica, whose influence can been seen from everyone from Lady Gaga and La Roux to Hugo in Lost (apparently, he's a big fan). DIY sits down with the band's DJ/writer Reuben Wu to talk about their follow up to 'Velocifero', their songwriting Bible and their recent writing trip with Xtina Aguilera.
Back with a new album for 2011. First off, do we have an album title?
'Gravity the Seducer'.
On your Wikipedia page, which is very slickly constructed I might add, it says, "Ladytron has created a body of work that reveals a fresh creative arc - and, as time has told, served as a reference point for a current crop of artists such as Lady Gaga, Goldfrapp, La Roux and Crystal Castles". Is the new Ladytron album a reaction in any way to the depolarisation of electronic music? Sonically, what are we to expect from the new music?
To my ears, it certainly sounds less electronic than previous albums, but it's difficult to step out of my perspective to really make that judgement. To us, 'sounding electronic' has never been something we've had on our minds while making the music. For this album, the majority of instruments we used were not electronic. Autoharp, Conn organ, piano, violin, cello, guitars... The songs on it are more atmospheric, more spacious sounding, softer-sounding than the last album.
What do you think about the current state of electronic pop music? Are you Gaga for the Lady? Or was the Black Eyed Peas assault on electro one step too far?
There are some really great electronic artists out there who I absolutely love, like Summer Camp, Daniel Maloso, Brian Eno, Boards of Canada and so many more.
Reuben, you're a classically trained violinist. Helen has a music degree... how important were the academics of music for you? Would you sound like 'Ladytron' without it?
Having a musical background has definitely helped me. I never liked having to play the violin as a kid because it was an incredibly difficult instrument to make a nice sound with, but it has given me an understanding which has definitely had an impact on the music I've written. On the other hand Danny and Mira haven't had musical training, which I think excites the overall musical chemistry.
It seems as if a lot goes into the melody, arrangement and texture of the songs, whereas the lyrics are often minimalist. Do you still see the lyrics and music of 50:50 importance in your songs? And does this opinion hold true for other people's work?
Every band is different. For us, all these aspects are crucial to our music. Even if you might think that our lyrics are minimalist, they have the same importance as the the melody and the production.
What is the golden rule of songwriting, according to Ladytron?
Quality control.
As songwriters, you have a respectable range, as you wrote some songs for Christina Aguilera, one of which is on her deluxe album Bionic. Forgive me, but you think of the 'big league', you may envision something like this new TV series with Matt LeBlanc, 'Episodes', where the Brits pitch their TV show for a remake with Big US TV industry Execs whose can-do attitude is about about as genuine as smiles... is there any truth of this in your experience of pitching ideas for songs?
That sounds like a bloody nightmare to me. It was quite a simple process with Christina Aguilera. She got in touch, we wrote some songs for her, she chose the ones she wanted to work on, and we travelled to her studio to collaborate on those songs.
What was it like as writers making songs to measure for a global name?
It was never making songs for measure - she asked us from day one to write as if we were writing for ourselves and she would just fit into that. It was a very good position to be in as songwriters.
Did you work with Christina directly during the process and if so, what was she like as a 'colleague'?
Yes we spent some days in her studio working on lyrics and melodies and also building up the tracks themselves. Fortunately we were able to share some musical inspirations before we started working with her and just hang out so things were pretty chilled out and comfortable.
You're a Liverpool-based band. Do you embrace or resent the fact that is one of the most celebrated cities in the world in terms of its musical heritage - but that's its musical heritage is generally considered to be The Beatles and pretty much The Beatles only?
I'm very proud that we we formed in Liverpool. The omnipresence of the Beatles eventually fades into the background until you don't notice it, especially when I was living there, as there is so much music in such a small city. However there are times when we've been faced by some pretty funny Beatles references when we are touring internationally, and that's when it becomes more obvious to us. We never resent it.
You're named after one of my favourite Roxy Music songs. What is so special about this band for you? If you had to choose a fifth member of Ladytron, would you prefer Eno or Ferry?
They were just so forward-thinking and unconventional yet had such great pop songs and an amazing image, like the last gang on Earth. They used synthesizers and oboes and saxophones which didn't fit into any genre at the time. I'd say Eno only because I also love the music he made after Roxy, like No Pussyfooting with Robert Fripp, and he asked us to play at the festival he curated at the Sydney Opera House.
You have a penchant for peculiar gig locations - Tate Liverpool, for instance, making the Picassos vibrate and the Chinese festival you played. Is there a gig dream you really want to realise?
A gig at the North Pole.
What can fans be expecting from you live this year?
Watch this space.
Source
Back with a new album for 2011. First off, do we have an album title?'Gravity the Seducer'.
On your Wikipedia page, which is very slickly constructed I might add, it says, "Ladytron has created a body of work that reveals a fresh creative arc - and, as time has told, served as a reference point for a current crop of artists such as Lady Gaga, Goldfrapp, La Roux and Crystal Castles". Is the new Ladytron album a reaction in any way to the depolarisation of electronic music? Sonically, what are we to expect from the new music?
To my ears, it certainly sounds less electronic than previous albums, but it's difficult to step out of my perspective to really make that judgement. To us, 'sounding electronic' has never been something we've had on our minds while making the music. For this album, the majority of instruments we used were not electronic. Autoharp, Conn organ, piano, violin, cello, guitars... The songs on it are more atmospheric, more spacious sounding, softer-sounding than the last album.
What do you think about the current state of electronic pop music? Are you Gaga for the Lady? Or was the Black Eyed Peas assault on electro one step too far?
There are some really great electronic artists out there who I absolutely love, like Summer Camp, Daniel Maloso, Brian Eno, Boards of Canada and so many more.
Reuben, you're a classically trained violinist. Helen has a music degree... how important were the academics of music for you? Would you sound like 'Ladytron' without it?
Having a musical background has definitely helped me. I never liked having to play the violin as a kid because it was an incredibly difficult instrument to make a nice sound with, but it has given me an understanding which has definitely had an impact on the music I've written. On the other hand Danny and Mira haven't had musical training, which I think excites the overall musical chemistry.
It seems as if a lot goes into the melody, arrangement and texture of the songs, whereas the lyrics are often minimalist. Do you still see the lyrics and music of 50:50 importance in your songs? And does this opinion hold true for other people's work?
Every band is different. For us, all these aspects are crucial to our music. Even if you might think that our lyrics are minimalist, they have the same importance as the the melody and the production.What is the golden rule of songwriting, according to Ladytron?
Quality control.
As songwriters, you have a respectable range, as you wrote some songs for Christina Aguilera, one of which is on her deluxe album Bionic. Forgive me, but you think of the 'big league', you may envision something like this new TV series with Matt LeBlanc, 'Episodes', where the Brits pitch their TV show for a remake with Big US TV industry Execs whose can-do attitude is about about as genuine as smiles... is there any truth of this in your experience of pitching ideas for songs?
That sounds like a bloody nightmare to me. It was quite a simple process with Christina Aguilera. She got in touch, we wrote some songs for her, she chose the ones she wanted to work on, and we travelled to her studio to collaborate on those songs.
What was it like as writers making songs to measure for a global name?
It was never making songs for measure - she asked us from day one to write as if we were writing for ourselves and she would just fit into that. It was a very good position to be in as songwriters.
Did you work with Christina directly during the process and if so, what was she like as a 'colleague'?
Yes we spent some days in her studio working on lyrics and melodies and also building up the tracks themselves. Fortunately we were able to share some musical inspirations before we started working with her and just hang out so things were pretty chilled out and comfortable.
You're a Liverpool-based band. Do you embrace or resent the fact that is one of the most celebrated cities in the world in terms of its musical heritage - but that's its musical heritage is generally considered to be The Beatles and pretty much The Beatles only?
I'm very proud that we we formed in Liverpool. The omnipresence of the Beatles eventually fades into the background until you don't notice it, especially when I was living there, as there is so much music in such a small city. However there are times when we've been faced by some pretty funny Beatles references when we are touring internationally, and that's when it becomes more obvious to us. We never resent it.You're named after one of my favourite Roxy Music songs. What is so special about this band for you? If you had to choose a fifth member of Ladytron, would you prefer Eno or Ferry?
They were just so forward-thinking and unconventional yet had such great pop songs and an amazing image, like the last gang on Earth. They used synthesizers and oboes and saxophones which didn't fit into any genre at the time. I'd say Eno only because I also love the music he made after Roxy, like No Pussyfooting with Robert Fripp, and he asked us to play at the festival he curated at the Sydney Opera House.
You have a penchant for peculiar gig locations - Tate Liverpool, for instance, making the Picassos vibrate and the Chinese festival you played. Is there a gig dream you really want to realise?
A gig at the North Pole.
What can fans be expecting from you live this year?
Watch this space.
Source
08 June 2011
06 June 2011
Clash Music interview (2011)
The eclectic, electronic four piece that are Ladytron have returned to the fray with a 'Best Of' album, marking out a decade in the business and as a forerunner to their fifth studio album 'Gravity the Seducer', which is due for release in September.Known for their lush synthesized sounds, uniform wearing (back in the early days) and for ploughing their own fantastically unclassifiable furrow, they are a band at the peak of their powers, traversing the worlds of video games, movie soundtracks, DJ sets and remixes for other artists.
To promote the album they're currently touring the UK, with upcoming shows in London, Glasgow, Liverpool and Dublin this week (see details below). Daniel Hunt lent us a little of his time between shows to answer the following questions.
You have a new album due out soon, why did now feel like the time to go for a 'greatest hits'? Is it purely to mark the decade milestone or perhaps to put your current work into some sort of chronological context?
Both, it's an opportunity to draw a line in the sand that will not come around again. Additionally, much of our audience weren't even aware of us the last time we put an album out, let alone when we began.
You've produced music for The Sims and for a FIFA game... do you think that dilutes what you do as a band or it just another channel to get your music 'out there'?
No different to a film or TV show. Didn't produce music specifically, nothing unusual or particularly noteworthy.
You started out playing to backing tapes and doing one off shows whereas now you're well respected as a live band... did this happen organically, through the process of playing together or did you think, we need to get this live thing down because its the only way to make money these days?
We began to focus on live only when it was apparent that there was a demand for us to play around the world, and bear in mind we had already passed on a 2001 tour in the US. We didn't assume that we would be touring all over the world. It was also nothing to do with money, tours were still in part supported by labels in those days remember, they were considered marketing.
To be honest the way the balance has shifted, I dislike when artists are making albums purely as a platform to tour, and conversely the attitude that musicians should just accept that touring is the only source of income. That is actually, for all but the biggest artists, an untenable situation which is beginning to be acknowledged, although I must say, usually anonymously.
This is why artists, especially new ones, in general deserve to be cut some slack for seeking ways to monetize their music, the average listener has had quite a good deal from decimation of the old industry after all.
You're known as a four piece but there's now an additional rhythm section that aren't part of the 'band'... are they just used when you're touring or do they contribute to the recording process?Touring, very occasional session playing if required.
You continue to use analogue equipment when you tour, as it must be hard to duplicate some of your sound digitally... irreplaceable items no doubt give up the ghost in transit, do you mourn them or just get searching for replacements?
We buy every MS-20 we find. Seriously.
You've admitted that you're a album band, would you be happy to dispense with the whole single business or do you enjoy choosing an album 'taster' and making of the subsequent videos?
I wouldn't say we admitted anything, we make albums. That's part of the album process though, it need not be mutually exclusive, we love putting singles out. What we don't want is the charade where an album is made purely as a platform for touring, as I said, which is endemic now. The album, is and should be a viable form in itself.
You've listed very disparate influences in terms of what you listen to... most of if historical. Are there there any current bands that are influencing your sound or that you're excited by?
To be honest I’m not sure I remember listing any influences explicitly, certainly not for a long time. However I do remember explaining which assumed influences were actually inaccurate.
In general, normal listeners, rather than music geeks, have almost universal knowledge of back catalogue nowadays. I find that I rarely tell anybody about a record, it is assumed that everybody is aware.
But for a band that has been active this long to be overtly influenced by something totally current seems perverse, as you're already on your own journey, our records have been substantially different anyway. You can always be influenced by a change of context, or a change in audience however.
The atmospheric aspect of your music feels like it could easily be translated into a cinematic collaboration... would you like to do a soundtrack for a movie and if so which directors would you be interested in working with?
I'm already working on some film projects.
You're playing at the Arches (Glasgow) in June to promote the album, does Helen view that as a homecoming of sorts, especially in light of the greatest hits?
Yes she always loves playing Glasgow.
You DJ, do you get something very different from that than you do when you're performing; do you ever play any of your own records?
DJ'ing is totally different to playing live shows, seems pointless to compare. Sometimes you play your own record, depends on the circumstances, if there's a crowd there for us specifically then sure, but I wouldn't normally if it didn't matter.
Was it a bit strange collaborating with pop princess Christina Aguilera or did you respect the fact she liked your sound and wanted a piece of it?
Both. but I've said before, I respect the major artists who actually seek out the collaborators who they want to work with, far more than those who just send a list of names to A&R for a producer to approximate. She deserves more credit for that than she actually got. I would say that some real nonsense has been written about this though, which I suppose is natural given the nature of her celebrity, but is not our world.Do you feel as enthused and prolific as when you first began working together or do you believe Ladytron to have a finite existence?
We never planned beyond making the next record, even when we began, though looking back, five albums always seemed appropriate. It depends on what we want to do next. Creatively we're not confined to this group, or to music, individually or collectively. All I would say is that this album has been the one whose creation has felt driven by the strongest desire.
Source
05 June 2011
The Fader interview (2009)
Five Questions For Ladytron
Before Ladytron take the stage in their glam outfits and backed by pulsing electronica, their calculated keys producing some of the most recognizable dance tracks around, I climb aboard their tour bus parked around the corner from the venue to stare directly at a KFC. Very chic.
Member Daniel Hunt is making coffee as band mate Mira Aroyo tinkers on her laptop when I sit down. Ladytron and The Faint are playing for two nights at The Fillmore in San Francisco and are swapping headlining duties. Playing at the Fillmore, says Hunt, is surreal because "it's where we started" as a band.
The UK outfit, which also includes Reuben Wu and Helen Marnie, has been busy since releasing Velocifero last year. In between remixing, DJ appearances, and touring, the band is also producing new tracks for singer Christina Aguilera, which Hunt apologizes he can't offer to us for a sneak peak. "As soon as you're gone, I'm actually gonna blast it". Ladytron are also embarking on a mini-Australian tour which include two nights at the Sydney Opera House as a part of a festival curated by none other than Brian Eno, who asked the band personally to tag along.
During the live show I observe that songs with a more synth like "Ghosts" and "Seventeen" pack a better punch; this night is the one Ladytron are headlining at, and a lot of people in the audience seem half-enthused and half-out of their mind from what I can see from the balcony. I'm glad to also witness that most of the electronic shows I've seen in the past few months have had a killer light show to accompany the dance soundtrack. Note to self: think about maybe getting high next time.
At the after show hosted by Popscene, Wu and Hunt take to the DJ decks to blast some crazy techno-type beats. Before the night is over, a woman badgers them about how she got gypped out of seeing Ladytron perform live. "The flyer lied to me! I want my money back! She didn't perform!" Confused, the two gently try to explain that they were only there to spin and not play, to which the woman replies "How can you be in the band?" She thought Ladytron was a solo act. Hunt's amusement is beyond containment.
I was told you have the juicy info on everyone in the band. Is this true?
Juicy info, really? [laughs' Maybe just in regards to what we're doing. We're finishing the tour in the U.K., then flying to Moscow to play dates with Depeche Mode. And, we're doing an opera with Brian Eno in Sydney, tailor set to creation and surroundings.
Are you in Brian Eno's iPod? How did that solidify?
His daughter was actually at our Oxford show, and said her dad was into us. Which is amazing, he was hugely influential to not only us but many others -- just try to document it. The opera is not really every day sort of thing we get to do.
You guys are like the UN of electro groups; you're in Milan, Reuben's in Liverpool, and Helen and Mira live in London. Is it hard for things like band practice with you being the furthest?
Living in different places is actually quite good. You spend all this time on the road, so it's nice to split for a little while. In Europe it's so cheap to get around. From London to Italy is as easy and cheap sometimes from Liverpool. Milan is also underrated in its reputation, I think. Santo looks like an artsy Paris, and Italians don't like it very much. But the infrastructure and jobs in architecture, I quite like it. It's an hour away from the coast.
For making music for people to dance to, it seems your stage presence is really quite calm.
We get asked about that a lot, and that is also said about us a lot too. Truthfully it's like day and night [when you look at the way we first performed and to now]. I mean, do you want us to strap on a synth and punch the air? The whole idea of "stage craft" is bullshit, like someone gave you a manual and things to say in between songs and how to act on stage. I find it to be really false. When I watch bands, I just watch them play, not how much they jump around. We just didn't buy into the idea and I've always found that a bit funny.
What does it mean to go on a DJ tour, anyway?
Put on your iPod and play some shit. (laughs) It's normal from band members to do that, but "DJ tour" I admit is a weird wording. It's more like DJ gigs. When we started going out on our own to DJ it was quite uncommon, because most bands were just doing live shows all the while. It's a good way to try out new material that you don't do on the road, or when you're in between albums and need to kill time. But sometimes that goes against us or people do weird shit. Once someone asked me "Can you play some Ladytron?" and I said, "This is Ladytron, it's our new single". The response there was "Oh, okay. But can you play some Ladytron we know?"
Source
Before Ladytron take the stage in their glam outfits and backed by pulsing electronica, their calculated keys producing some of the most recognizable dance tracks around, I climb aboard their tour bus parked around the corner from the venue to stare directly at a KFC. Very chic.Member Daniel Hunt is making coffee as band mate Mira Aroyo tinkers on her laptop when I sit down. Ladytron and The Faint are playing for two nights at The Fillmore in San Francisco and are swapping headlining duties. Playing at the Fillmore, says Hunt, is surreal because "it's where we started" as a band.
The UK outfit, which also includes Reuben Wu and Helen Marnie, has been busy since releasing Velocifero last year. In between remixing, DJ appearances, and touring, the band is also producing new tracks for singer Christina Aguilera, which Hunt apologizes he can't offer to us for a sneak peak. "As soon as you're gone, I'm actually gonna blast it". Ladytron are also embarking on a mini-Australian tour which include two nights at the Sydney Opera House as a part of a festival curated by none other than Brian Eno, who asked the band personally to tag along.
During the live show I observe that songs with a more synth like "Ghosts" and "Seventeen" pack a better punch; this night is the one Ladytron are headlining at, and a lot of people in the audience seem half-enthused and half-out of their mind from what I can see from the balcony. I'm glad to also witness that most of the electronic shows I've seen in the past few months have had a killer light show to accompany the dance soundtrack. Note to self: think about maybe getting high next time.At the after show hosted by Popscene, Wu and Hunt take to the DJ decks to blast some crazy techno-type beats. Before the night is over, a woman badgers them about how she got gypped out of seeing Ladytron perform live. "The flyer lied to me! I want my money back! She didn't perform!" Confused, the two gently try to explain that they were only there to spin and not play, to which the woman replies "How can you be in the band?" She thought Ladytron was a solo act. Hunt's amusement is beyond containment.
I was told you have the juicy info on everyone in the band. Is this true?
Juicy info, really? [laughs' Maybe just in regards to what we're doing. We're finishing the tour in the U.K., then flying to Moscow to play dates with Depeche Mode. And, we're doing an opera with Brian Eno in Sydney, tailor set to creation and surroundings.Are you in Brian Eno's iPod? How did that solidify?
His daughter was actually at our Oxford show, and said her dad was into us. Which is amazing, he was hugely influential to not only us but many others -- just try to document it. The opera is not really every day sort of thing we get to do.
You guys are like the UN of electro groups; you're in Milan, Reuben's in Liverpool, and Helen and Mira live in London. Is it hard for things like band practice with you being the furthest?
Living in different places is actually quite good. You spend all this time on the road, so it's nice to split for a little while. In Europe it's so cheap to get around. From London to Italy is as easy and cheap sometimes from Liverpool. Milan is also underrated in its reputation, I think. Santo looks like an artsy Paris, and Italians don't like it very much. But the infrastructure and jobs in architecture, I quite like it. It's an hour away from the coast.
For making music for people to dance to, it seems your stage presence is really quite calm.
We get asked about that a lot, and that is also said about us a lot too. Truthfully it's like day and night [when you look at the way we first performed and to now]. I mean, do you want us to strap on a synth and punch the air? The whole idea of "stage craft" is bullshit, like someone gave you a manual and things to say in between songs and how to act on stage. I find it to be really false. When I watch bands, I just watch them play, not how much they jump around. We just didn't buy into the idea and I've always found that a bit funny.What does it mean to go on a DJ tour, anyway?
Put on your iPod and play some shit. (laughs) It's normal from band members to do that, but "DJ tour" I admit is a weird wording. It's more like DJ gigs. When we started going out on our own to DJ it was quite uncommon, because most bands were just doing live shows all the while. It's a good way to try out new material that you don't do on the road, or when you're in between albums and need to kill time. But sometimes that goes against us or people do weird shit. Once someone asked me "Can you play some Ladytron?" and I said, "This is Ladytron, it's our new single". The response there was "Oh, okay. But can you play some Ladytron we know?"
Source
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