Ladytron announces "Best of 00-10 Videos"

Ladytron's Best of 00-10 Videos will be released on 10 May by Nettwerk Records. The career-spanning collection features nine Ladytron music videos and will be available exclusively on iTunes.

Videos:
1. Playgirl
2. Blue Jeans
3. Seventeen
4. Sugar
5. Destroy Everything You Touch
6. Ghosts
7. Runaway
8. Tomorrow
9. Ace of Hz

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Ladytron music videos

These are all Ladytron music videos. For Marnie music videos go here.

Overview:
Playgirl (version 1)
Playgirl (version 2)
Playgirl (director's cut)
Seventeen
Evil (UK version)
Evil (US version)
Blue Jeans
Sugar
Destroy Everything You Touch
International Dateline
Ghosts
Runaway
Tomorrow
Ace of Hz
White Elephant
Mirage
The Animals
The Island
Deadzone
Tower of Glass
Light & Magic
True Mathematics

Playgirl (version 1)

Released: 2000. Directors: James Slater and Neil McLean.

Playgirl (version 2)

Released: 2001. Directors: James Slater and Neil McLean.

Playgirl (director's cut)

Released: 2001. Directors: James Slater and Neil McLean.

Seventeen

Released: 2003. Director: David Chaudoir.

Evil (UK version)

Released: 2003. Director: Scott Lyon.

Evil (US version)

Released: 2003. Directors: James Slater and Neil McLean.

Blue Jeans

Released: 2003. Directors: James Slater and Neil McLean.

Sugar

Released: 2005. Director: Andy Roberts.

Destroy Everything You Touch

Released: 2005. Director: Adam Bartley.

International Dateline

Released: 2006. Director: Daniel Hunt.

Ghosts

Released: 2008. Director: Joseph Kahn.

Runaway

Released: 2008. Directors: Mike Sharpe and Barney Steele.

Tomorrow

Released: 2009. Director: Neil Krug.

Ace of Hz

Released: 2011. Director: Chino Moya.

White Elephant

Released: 2011. Director: Michele Civetta.

Mirage

Released: 2011. Director: Michael Sherrington.

The Animals

Released: 2018. Director: Fernando Nogari.

The Island

Released: 2018. Director: Bryan M. Ferguson.

Deadzone

Released: 2019. Director: Bryan M. Ferguson.

Tower of Glass

Released: 2020. Director: Manuel Nogueira.

Light & Magic

Released: 2022. Director: N/A.

True Mathematics

Released: 2022. Director: N/A.

Ladytron - La Route Du Rock, 2001

Format: MKV, DivX, 576x272
Size: 700 MB
Source: TV broadcast

Content:
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

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The Daily Record interview (2008)

60 second interview: Ladytron's Mira Aroyo
1 June 2008

Ladytron singer Mira Aroyo quit science to hit the stage with Helen Marnie, Daniel Hunt and Reuben Wu - and reveals here why it was the best move she ever made. Their album Verocifero is out tomorrow.

Why is the album called Velocifero?

It means carrier of speed. It was the title of a track which didn't make it on the album but we liked the name so much we kept it. Scooters and pushbikes also go by the name. We Googled it and found it was also the title of a 19th-century Italian opera. We just liked it because of the speed of velocity.

What's the inspiration behind it?

To do something more diverse and better. That's all really, otherwise it's just the same inspiration for all the things we do. We want to make songs we enjoy and like playing and hopefully other people will enjoy them. We've been going for eight years and I don't think we would have if we weren't pushing forward. I'm happy with the album. I guess it's natural to think it's your favourite because it's the last one you have done.

What was it like recording in Paris?

We went straight from touring in America to recording. One of the studios we were in was underneath a big theatre where they record people like Charles Aznavour. Duran Duran recorded Rio there. It was funny doing it with people who were not English-speaking. Funny but nice. You are originally from Bulgaria. Do you get back home much? We've played there twice. I have to go quite often because my grandma and uncle are there. It was pretty amazing to play there because I think people appreciated it. Do you get nervous playing at home? My home town now is London. It's where my friends are. It's always stressful because you have to make sure everyone is OK. It's like it's your party and you never get to enjoy it much because you are pouring drinks and stuff.

How did the band meet?

Through friends. Helen was at university in Liverpool, where Danny and Reuben are from. They were on the music scene. They were DJing and we met through mutual friends.

Your fellow vocalist, Helen, is from Scotland. Do you visit here much?

I love coming to Scotland. We've played at Oran Mor in Glasgow a few times and it's one of our favourite venues in the UK. Because Helen is from Glasgow, she goes there all the time. She has a flat there as well.

You were a geneticist. How did you get into music?

We've all been very passionate about music and I was a DJ before but I never thought it would be a career. We all had jobs when we started Ladytron then little by little we ditched them. I was a geneticist doing a PhD and realising lab work wasn't for me. We were doing Ladytron at the same time and I was enjoying it more. It was easier and more fun.

Is there anyone you'd like to work with?

We are really interested in during more film soundtrack stuff. Stay at home, less touring, more soundtracks. The director who did the video for our single Ghosts is a big Ladytron fan and he has some scripts that he is hoping to start on next year. He has asked us to work on the music.

Any favourite films?

I'm obsessed by films so there are lots of favourites but I really like Watership Down, David Lynch films and lots of horror films.

What's your favourite way to spend a Sunday?

In summer, I like to go to a nice park, cycle around or have a picnic on a boat or a barge. Right now, that would be nice.

Source

Ladytron - The Commodore Ballroom, Vancouver, 2003

Format: MP3, 320 kbps CBR
Note: high quality recording

Track listing:
01. True Mathematics
02. Playgirl
03. Another Breakfast With You
04. Cracked LCD
05. Blue Jeans
06. He Took Her to a Movie
07. Fire
08. Black Plastic
09. Evil
10. USA vs. White Noise
11. Seventeen
12. Discotraxx
13. Turn It On
14. The Way That I Found You
15. Oops Oh My

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Chaos Control interview (2006)

The following is an interview with Daniel Hunt of Ladytron. It was conducted on Saturday, 15 April 2006, the day after Ladytron kicked off their North American tour with a show in Washington DC. The band returned late last year with their 3rd album, "Witching Hour," and recently released a new EP/DVD, "Extended Play."

The US tour just kicked off in DC – how did that show go?

It was good. The last time we played DC I think it was about 3 shows in, and it was in the middle of a blizzard. It was a bit better this time. The weather was good, and we sold out.

What can people exact from this tour?

We played live a lot after that last US tour. In fact we were touring for about another 8 months. I think it's a lot more powerful now. It's definitely progressed, the live show.

Have you made any major changes in terms of live set-up or instrumentation?

Not really, it's exactly the same as it was last time, it's just that there's a guitar as well. I play guitar and keyboards. That's the only addition. There's 8 synths on stage, and one guitar, if that gives an indication.

Have you added guitar to songs that in the past were performed on just keyboards/synths?

Just on a couple of songs where it made sense. The way we record, there are loads of guitars on all the records. But when we didn't have a guitar with us, we'd approximate with synth going through a bunch of delays or something. So we just use whatever is appropriate. We're not purists, at all. The bands that we like are not afraid to use whatever instrument works. A guitar, when you feed it through a few pedals, is just a sound generator, really. Using a guitar doesn't mean it's going to become kraut rock or Oasis or something.

Can you talk about the new "Extended Play" EP?

The EP was done because the label wanted something to put out while we were on tour. So we did some exclusive mixes for it, and released some that hadn't been out before. We also put together a DVD, which is the "Sugar" and "Destroy" videos and this film we made when we toured in China. A mini documentary.

And "Witching Hour" just came out on vinyl?

Yeah, we always think all our records should be released on vinyl. It was always intended. It's just that the label wanted to tie it together to when we came to tour. It seems to be pretty standard now to release something on vinyl after it comes out on CD. But as long as it comes out on vinyl eventually we don't care.

What was the reason for switching labels, from Emperor Norton to Ryko?

We've switched labels about 7 times since we started! We've been in this long enough … it's kind of irrelevant. The most important thing is the team around you and the people you work with day to day at whatever label it is. Ryko is good at the moment, because a lot of them are Ladytron fans. So they've been very enthusiastic.

The music industry has changed so much over the past decade or so – what do you think has been most effective in terms of getting the word our about Ladytron? The internet? Radio? Club Play?

I don't know. The internet has definitely had an effect, especially in between albums. There seems to be twice as many people into us than last time, even though we didn't do anything in between. The best way for people to hear the record is the radio or online. Myspace is really good for bands. We've only been on that for the past 6 months. Things have changed a lot in 5 years even. Something like Myspace, there's probably going to be a point where it gets saturated and possibly useless, but it's good for the band. Things aren't being forced down people's throats. It's not like a record company making some big Flash animation site or sending a lot of unsolicited stuff out. The fact that it's actually people networking around the band, on their terms, it brings them closer to the band in a way. I think that's really cool.

What are your thoughts about online music distribution?

As far as file sharing, that debate is dead now. It exists, and everyone does it. There's a certain naivety about who it actually affects … some people are adamant that it doesn't affect the bands, that it only affects the labels. Which really isn't true. Because there are now legal downloads as well, people really do now have a choice. If someone doesn't spend any money on music, there are other ways to support a band. Going to a show, etc. If someone does want to spend money on music, but doesn't want to go out and buy cds, they can instead go to iTunes of whatever. At least they have a choice. And if they like a band, it's not like the only way they can support them is by going into a store a buying a record. Because it might not even be available where they are. We've played places in the world where none of our records have been available, and the only way to get them is to illegally download them. And then you go and play a sell-out show, and everyone knows all the material. That's amazing. It wasn't possible even five or six years ago.

Some people see it as bringing back the single. Have you considered releasing individual tracks between albums?

Yeah, we might possibly do that. You could put a track out as an individual release, and that's very easy to do now. It's not like you have manufacture and distribute them. I still think that we consider ourselves an album band.

All three of your albums sound a bit different from each other. Do you think it's a natural thing, or do you intentionally set out to give each release a fresh edge?

It's evolved naturally because we were playing the tracks from Light and Magic live for a year. And when we were playing them live, they became heavier and more dynamic. We were playing them with live bass, and live drums triggering sounds. And by the end, it got to the point where we were like 'if we were recording the album now, this is what it would sound like.' Rather than it be kind of a bedroom production. We ended up finishing in a studio with a producer, but that's what it started off as. So this album, it was just a natural thing where as we were working on it we were aware of things that we weren't aware of before. Just from playing live so much. Also, we felt like we had the freedom to make the record we were capable of, rather than the record people expected. Our label in the UK, when they got the demos they were like 'oh, we know you want to make the big opus or whatever, but can't you just make Light and Magic 2 first?' I think you can do more for the reputation of the band by making each successive record different. There are a lot of bands who get big by doing the same thing over and over again, but we don't want to do that. We want to be successful by making the music we're inspired to do. Rather than what people who don't actually like music very much want.

What are your plans for after this tour? When can we expect the next release?

Well we've already started to work on stuff for the next record. 'Witching Hour' was delayed for a year, between recording and release. We don't want to have a big break again this time. We want to just be on the way with this record. At some point we'll have a break from touring 'Witching Hour' and we'll go record maybe half of it. And then hopefully get the next record out pretty quickly. Early next year, hopefully. Rather than wait so long again.

Source

Format Magazine interview (2008)

Helen Marnie, one-fourth of the universally respected electro-pop group Ladytron, makes a good point when she discusses the perks of a slow-building fan base. "I think some bands are hyped far too much initially, and therefore they feel the pressure to have the same success with their next album."

While Ladytron has certainly seen their share of hype in the past few years, the hype did build slowly, giving the creatively daring group plenty of time to plant their roots. These roots have allowed them to believe in the kind of music they want to produce – not what a label or current musical climate might ask them to – which has resulted in sounds that are not just momentarily fresh, but perpetually so. Read on as we catch up with Marnie about the process behind Ladytron's latest album, Velocifero.

All four of you had musical careers before joining together as Ladytron. What were you up to in those days?

Actually, the only one of us that really had a career based in music was Danny [Hunt]. He ran a club night as well as his own indie label called Invicta Hi-Fi. Mira [Aroyo] and Reuben [Wu] used to DJ occasionally, but it was more of a fun thing. I was still at university studying music when I met Danny. After that I just took on a few odd jobs to get me by and about a year or so after I left [university], Ladytron became more of a full time thing.

It's been several years since you first started making music together, and for the greater part of those years you've been really successful. Do you miss anything about the excitement of the beginning, or has settling into your careers been a greater reward?

We're more experienced now, so I guess know what we want. The music industry has changed substantially since we started and we've had to take note and adapt to it, and have learned a lot about the industry along the way.

We still get excited about doing certain gigs, otherwise there would be no point in being in a band. We've been together for quite some time now so I think we know each other far better, which makes touring and working together a lot easier.

Aside from playing roles in the actual instrumental of the band, what would you say that each of you contributes uniquely and creatively to the direction of your sound?

Obviously the voices are very important to Ladytron; we've two very different styles and techniques that work well together and also individually. We all write, each member having different ideas and influences, which in turn makes a more-well rounded album, diverse yet coherent.

Your album before this year's Velocifero, Witching Hour, really marked a shifting point in your sound – a lot of critics excitedly described it as a leaps-and-bounds evolution from your previous albums. In what ways do you think Velocifero continued that evolution – or didn't it?

I think if you listen to both albums consecutively then you can hear the natural progression. Witching Hour sounds the closest to Velocifero.

When we first started out we were still learning how to produce and promote our sound on the live stage. The amount of touring we were doing before and during Witching Hour really contributed to the feel of Velocifero. It's punchy, dynamic with infectious beats, but retains a distinctive Ladytron sound – the warmth of the synths and floaty vocals.

What are some of the things that were influencing you during the writing and recording phases of Velocifero?

It's always very difficult to say what influences you as a songwriter, as you're not actually aware of one particular thing at the time.

For me, I'm influenced by personal things that go on around me – people, places, thoughts and feelings, reminiscing but also looking forward – I think that's why there are so many moments of light and dark on the album. I love the softness of certain female vocals such as Nancy Sinatra, but have also recently been drawn towards more recent folk artists such as Bon Iver and Laura Marling.

Some of your lyrics seem to hold references to Paganism. Am I right in observing that?

Nope. Afraid not. We never actually like to discuss our lyrics in depth, we prefer to let the listener conjure up their own images and let songs be personal to them.

As Ladytron has become more and more successful, do you feel more pressure to keep your sound in the comfortable realm of what you know your fans will continue to like, or do you fully bow to your creativity?

We have never felt any pressure to stay the same, or please anyone in particular. All we want to do is make music that satisfies ourselves. I think some bands are hyped far too much initially, and therefore they feel the pressure to have the same success with their next album.

As electronic artists, what are your thoughts on the remix? Do you tend to think of them as a derivative of the main track or something that can take on artistic merit of its own?

It depends. Remixes can be great, and some can just be miserable. It often depends on the song to begin with; sometimes a gem can be created, other times a monster.

This is a really extensive tour, where will you be heading next, and what are you crossing your fingers to experience this time around?

This tour has been so long. I'm just looking forward to putting my feet up over Christmas and seeing friends, family, and my dog. We're in Scandinavia right now, and in five days we wrap this year up in Oslo. It's been great, but we need time off to refresh for 2009. Tonight we are sold out in Stockholm, so it should be fun, and we're on in less than an hour, so I better put my makeup on.

Source

Ladytron - BBC 6Music Hub Session, 2008

Format: MP3, 160 kbps CBR

Track listing:
1. Interview
2. Ghosts
3. Interview
4. Runaway
5. Interview

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