Tamoios is a new band from São Paulo, Brasil that consists of Daniel Hunt, singer Luisa Maita, and Fernando Rischbieter. The first single is titled "Alto lá".
04 June 2014
18 May 2014
Jim DeRogatis interview (2006)
"It's actually pretty rare for a band these days to develop over three albums, because people just expect that it will be here and then it's gone", says Ladytron keyboardist and vocalist Daniel Hunt. "The appetite for indie rock at the moment is so voracious that things are just getting soaked up faster than they can be produced. A band like the Arctic Monkeys comes out straight away and has such a big success on the Internet, they're barely even given the chance to make their first album, let alone a third!".
Taking its name from Roxy Music and drawing inspiration from the strangely non-mechanical sounds of early synth-pop artists such as Kraftwerk, Gary Numan and Devo as well as vintage '60s pop, Ladytron was formed in Liverpool in 1999 by Hunt and fellow club DJ Reuben Wu, who recruited Bulgarian vocalist-keyboardist Mira Aroyo and vocalist-keyboardist Helen Marnie.
The group has yet to broach the mainstream, and its music is a treasured secret for a dedicated underground following. In addition to numerous singles and EPs, Ladytron has given us three full albums of exquisitely crafted, unforgettably melodic electronic pop: 604 (2001), Light & Magic (2002) and Witching Hour (2005).
"We had been on tour for a long time with Light & Magic, and we had the opportunity to continue touring it -- Marilyn Manson asked us to support him on tour; things like that. We had made some progress, but we were quite naive, especially about the USA, because we did one tour here [in 2003] and a trip around Coachella and thought, 'That's enough. We've done it now; we've sold out the Henry Fonda [Theater] in L.A.' We skipped all of the crappy little shows that people normally have to do".
Witching Hour is indeed the group's strongest offering yet, with songs such as "International Dateline" standing as perfectly realized pop gems. The disc has an overall darker vibe that makes the gorgeous vocals and indelible melodies seem even more mysterious and seductive.
"I think it's more emotional", Hunt says. "I don't know if you've seen a little film of when we went to China -- just some footage that a friend took -- but she started the video with 'The Last One Standing' and ended with us playing 'USA vs. White Noise' live in Shanghai. She said that she took it in the opposite direction of how she perceived the album: as stark, pretty and solid, and then becoming more emotional.
"I was watching TV the other day and there was a documentary about illegal immigrants trying to get from West Africa to the UK I thought, 'God, this is really, really sad', and then I realized they had 'All the Way...' as the music underneath it!".
As for "International Dateline", Hunt says the tune came together in the group's new home studio, which eschews computers in favor of older, more distinctive analog synthesizers and instruments.
"I had this really bad little Casio keyboard that I actually bought for five pounds off a Chinese guy in a cafe. It had this really nice distorted sound, and you could only play two notes at once because it wasn't polyphonic. It was a bit like [the punk-era electronic duo] Suicide. The song just came about with the chord sequence from the keyboards; there were variances with the vocals, then the guitar part went on it, and that turned it into what it is now. The lyrics just came pretty instantaneously".
"I think with this record, a lot of people who have had the opinion of us as automatons before might have revived it", Hunt says. "Sometimes people can only go on what they've heard, their perceptions of it and things they read. And I feel similarly: if someone described a band to me that was all about style over content, I would just be going, 'I am going to murder them!' But that's not us at all".
21 April 2006
Source
25 April 2014
Marnie - "The Hunter Remixed" available to buy as digital download
The 12" vinyl version was issued on Record Store Day (19 April 2014) as limited edition (500 copies).
Track listing:
1. The Hunter (album version)
2. The Hunter (Roman Nose remix)
3. The Hunter (Stephen Morris remix)
4. Sugarland (Mark Reeder remix)
20 April 2014
Ladytron - La Route Du Rock Festival, 2001
Format: MP3, 192 kbps VBR
Note: I made the cover. You can watch the concert here.
Track listing:
01. Zmeyka
02. He Took Her to a Movie
03. Paco!
04. Discotraxx
05. Holiday 601
06. Another Breakfast With You
07. Commodore Rock
08. This Is Our Sound
09. Playgirl
10. Skools Out...
11. Mu-Tron
12. The Way That I Found You
Download
19 April 2014
Marnie - "Hearts on Fire" videoclip
Helen Marnie just released the videoclip for "Hearts on Fire". The video was directed by James Slater, who also co-directed both versions of "Playgirl" by Ladytron.
18 April 2014
13 April 2014
Rolling Stone interview (2011)
Ladytron Go Glam on New Album
Liverpool's Ladytron have created a decade's worth of electro music, handily dodging the faddish limitations that quickly dated the sound their 808-wielding peers and displaying a flawless style to boot. They reemerge in 2011 with both a career-spanning greatest hits collection and brand new album, Gravity the Seducer, both testaments to how the band transformed their pristine analog vision into a new breed of epic synth-rock.
They may have a taste for vintage technology, but they've never been part of a retro movement. In 2002, Ladytron co-founder Daniel Hunt told Rolling Stone: "We don't want our music to remind people of anything". They've succeeded: five studio albums later, the still sound only like themselves.
Early on, Ladytron served their band name literal justice by appearing in videos as a troupe of beautiful androgynous robots. These days, vocalists Helen Marnie and Mira Aroyo are portraying an icy exotic Art Deco glam, as seen in the decadent "White Elephant" video. Rolling Stone caught up with Marnie to discuss her band's unmistakeable visual aesthetic, why synths can be sexy, her personal style and the new makeup line inspired by her look.
Can you talk about your days as a model?
I'm not really sure where the "model" information has come from; perhaps something was mentioned in a very early press release. I've never really done proper catwalk. I only ever did a few bits and pieces along with a couple of graduate shows as a favour to friends. I am, after all, only 5' 6" [168 cm]. Far too tiny to be a model. Plus, I look kind of weird, not in that coveted model alien way. Just in a plain weird way!
I can't comment on a model's life though I would assume for most their career is fleeting. I would say it must be hard to be constantly scrutinized solely over your looks. Don't think I could handle that. "Seventeen" was written a long time ago by Danny and is so flippant it would be ridiculous to comment on its origins now.
What do you think about the way fashion interprets music? For example: Aphex Twin and Plastikman seem to be runway favorites. What does this say about how fashion uses music vs. how the public uses it?
Certain people in creative industries will have their finger on the pulse of what is going on musically that is cult or underground. And that is reflected in their work. The worlds of fashion, music – even architecture – usually combine socially. So, it's natural for the fashion world to be exposed to pretty much everything. With fashion, there is also the need to keep creating something different and exciting, and certain types of music will compliment and enhance the catwalk experience. It's not so much about listening, its about the entire physical experience.
Has Ladytron ever worked closely with a designer or played a runway show?
Yes, Danny has DJed for Albino's Milan catwalk show, playing new tracks from our album Gravity the Seducer before it was released. We've also worn his clothes in our "Tomorrow" video and the press photos for Gravity the Seducer. He's been good to us.
How does Ladytron use fashion to enhance the look and mood/feel of performance?
We've never really concentrated on fashion too much. When we first started out we pretty much all wore the same thing. It was like a school uniform. We were a gang. Slowly, we kind of outgrew that though and that's when we starting wearing clothing on stage that were all different but gelled somehow. In the past, Mira and I have worn silk or satin dresses by Aganovich. Nowadays, we are far more relaxed about what we wear. It's a case of what we think works, rather than enhancing the music in any way. It's about what makes us feel comfortable, good about ourselves, and able to perform.
People have the misperception that we are goths because we tend to verge toward dark clothing onstage. However, I think it's more to do with us wanting to look good together as a band. It's about the music and nothing should really distract from that. We've never been flashy, and prefer a more mysterious approach.
Electronic music is so commonly seen as cold and clinical; the visuals, even clothing styles, pertaining to the genres also can evoke that quality. Why do you think that is?
I have no idea why that is. Synths can create exactly the same sounds as guitars. The only limiting factor of playing a synth is when you do it live. Like it or not, you have to stand behind a keyboard and play. There is no way you can bomb about the stage strutting your stuff. So it's definitely a different experience to watch.
Anyway, I really don't think that cold, clinical idea stands anymore. There are so many electronic bands out there that are producing warmth in their music right now. Plus, the mainstreams take on electro kind of quashes that. Gravity the Seducer is an electronic record, but I feel like it's the warmest, most emotional, thing we've ever done.
Is it important to Ladytron to have a cohesive aesthetic between members? How are those choices made?
It's always been important to us that we look cohesive as a band. In the past Mira and I have worn dresses made by friends that although different, were similar enough to draw us together and create a certain mood. My friend Angharad Jefferson is a talented designer specializing in embroidery and illustration. She has created several dresses for us incorporating different themes, mainly nature.
I noticed you wore a cool bow and cape at the NYC show. Who made those items?
What inspires your fashion right now? I've detected a bit of retro glam, which is new for you.
Over the last year I've been wearing a lot of 50s dresses. I love the dreaminess and feminine aspect of them and have also discovered the joy of wearing hats. They really can just finish off an outfit. I've never really been that brave with hats before but intend to embrace them from now on! In our next video for "Mirage" I'm chaneling more of a 70s vibe. I picked up an amazing vintage find, and it worked so perfectly in the video.
Which designers speak to your own tastes?
There's so many out there that speak to me for different reasons. I love the lace dresses of Mui Mui and Erdem for a more ladylike look, and I like designers such as Won Hundred, Sessun, and Isabel Marant for a more laidback look. I'm also really into my jeans by my friends at Arnsdorf. It's an Australian brand. The jeans are so snug and high waisted and make your legs look like they go on forever. I am also a big vintage lover so my wardrobe is quite a mixed bag.
You've gone on record as being anti-fur. Have you always held that view? If not, what convinced you?
Have you ever had an issue on photo shoots/editorials where you clashed with a stylist over the fur issue?
We don't actually use stylists that often because in the past we've not been happy with the result. Sometimes stylists have a preconceived idea about what you like to wear and it usually doesn't match with our own ideals. Wearing fur on a shoot has never really been an issue because we've always made it clear from the start that it's not on the agenda.
Do fashion, art, and other visual forces ever affect the way you actually write, record, and produce your music? How so?
Not really. It's hard to pinpoint influences like that. Personally, I'd say inspiration when writing comes from one's own experiences. The day to day, the ups and the downs, and looking at the world around you in a broader sense. When it comes to recording in the studio technology plays an important part. But we're always looking back too, trying to create new sounds in a different way. Usually the old and new come together to create some kind of monster.
Sadie Frost has a clothing line you've been wearing. Would you ever collaborate with her, or someone else, on a special line?
We Are Faux, created by one of your makeup artists, has launched an eyelash collection based on your look. How did that come about?
Ana Cruzalegui is a good friend, and she's worked with us a lot in the last few years. She wanted to create a brand influenced by music and fashion, along with the people she's worked with. Ana collaborated with Mira and I on her first collection of lashes. Mine are called Good Girl, and are super duper bad. They're like an art deco building on your eye lash. I love them.
Source
12 April 2014
Ladytron - Donaufestival, 2011
Format: MP4, 1280x720
Size: 394 MB
Source: audience recording
Content:
1. Ghosts
2. Soft Power
3. Playgirl
4. Destroy Everything You Touch
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