Emerging from the Past, Suited for the Future: An Interview with Ladytron

Between the late ‘90s and early 2000s a resurgence of electronic music was reintroduced with a secret synth handshake of the electroclash movement. Whether you loved or hated electronic music and ‘80s new wave, this new blend of analog synths, glamour and discotheque is nearly impossible to resist. Fischerspooner, Chicks on Speed and Felix Da Housecat were names that became synonymous with the genre. An explosion of the catchy electrobeats followed a time when the rave scene was dissolving.

During this time, danceable electronic and synth-laden acts were getting regular spins at nightclubs by a group of four like-minded individuals. These four people’s collaborative DJing experience and love for analog synths formed the infamous act Ladytron. “We all met in Liverpool in 1998 and ‘99,” says one-fourth of the act, Reuben Wu. “I was DJing with Danny in clubs and Helen was a music student there. We met Mira through a mutual friend.”

Although the sounds of the android-like foursome paralleled the electroclash scene with their debut release in 2001, titled 604, the melancholy female vocals and robotic analog synths played a key role in separating the retro-futurtistic sound and image from getting lost in the shuffle of the burgeoning music trend that will lose momentum from the abundant one-hit-wonder acts who were emerging.

One could get a taste of Ladytron before 604 was officially released through the single “He Took Her to a Movie” and the video for the single “Playgirl.” The band was praised for these songs, but mysteriously, nobody knew anything about them beyond these dance-floor fillers.

Harmonized vocals from the girls instantly became the band’s signature sound, along with the archaic sounds chiming out of their vintage keyboards. With the sweet and innocent voice of Helen Marie adding a layer of richness melting and dripping along the swanky synths, the crisp and angelic words from the Bulgarian-born Mira Arroyo were instantly captivating. Rather than creating a feeling like traveling back to ‘80s synthpop and new wave, they transport listeners to the future with their innovative, hybrid sound. The vocals merge together unlike any other act, showing that this four-piece is cut from a different cloth.

To become a groundbreaking act required each of the players to be on the same page, pulling off something that would tum heads and perk ears. Wu comments, “We all had common interests, but going on four has really focused on what we are all about — as a bunch of friends and as a band.” The focus has paid off and they have virtually become a band that handles the design and branding of themselves.

Ladytron’s branding is the personification of their playing style and look — including album art and merchandise. The public’s first impression is important to Wu as he pointed this out during our conversation: “Every band needs an image of some sort. I think what it did was the use of those black uniforms, which we’ve since eBayed. Now we wear stuff that is a little less restrictive and a bit more expressive.” Although fashion is important, and nobody can forget the uniforms that Ladytron was wearing when they first introduced themselves, the band never lost sight of their music. “We’ve definitely evolved our image,” Wu says. “We have avoided connections with the fashion industry. We like nice clothes, but not when it distracts people from the music.” 

In 2002, Ladytron released their second full-length album, Light & Magic on the Emperor Norton label and it was the perfect sequel to 604. “Seventeen,” “Blue Jeans” and “Evil,” the three singles spawned from Light & Magic, show the band’s ability to write music beyond one memorable album.

By this time, people had become familiar with the-name and image of Ladytron and could easily identify the band posing stoically in serious black fashions with chic, impish hairdos while donning heavy black eyeliner like it’s their day job. The four band members are like the real-life versions of Kraftwerk‘s famous robots. The image aspect of Ladytron doesn’t stop at clothing. “We keep tabs on every aspect of the band’s image, from designing our own merchandise,” Wu says, “designing our own record sleeves to deciding what live visuals to use.”

Between live performances, the members of Ladytron spend their free-time touring with DJ gigs. In 2003, the band showed they were not limited to electropop when they released a compilation, mixing genres under the title Softcore Jukebox. Tracks from acts like Fannypack, My Bloody Valentine, The Fall and !!! were among the 18 hits in the jukebox. Of course, the album wouldn’t be complete without a remix of “Blue Jeans,” plus the opportunity to do a rock ‘n’ roll cover of Tweet‘s “Oops, Oh My.” This wasn’t the first time they did a cover song. On a tribute album to Human League, Ladytron performed their rendition of “Open Your Heart.” Wu adds that they enjoy doing covers and have a surprise cover for this fall’s tour.

It seemed like a long three years of anticipation for the 2005 Ladytron album, Witching Hour, on Island Records; however, label shopping kept the album from coming out almost a year earlier. The critically acclaimed third full-length showed the maturity of the band and took on an unexpected angle, breaking out of the mold of the strictly analog format. Rich guitars blending into a harder rock sound was a surprise, yet the band flattened their integrity through the same richness of analog synths and gentle female vocals. Wu says that it was a conscious effort to hold onto the original sound of Ladytron. “There is as much synth on this record as there is on our previous records,” he says. “We’ve just been able to experiment with the sound and broaden our range of instrumentation.”

The songwriting process has become a collaborative effort, according to Wu. “Danny used to do all the songwriting because there was a time when we had to keep jobs. But now we all do it. Witching Hour is the most collaborative and the best so far.” Adding guitars to Witching Hour came naturally to the band. “We use synths as a foundation for our music and build on top of that. We don’t try to stay within one realm of instrumentation. It’s all sound. We treat a guitar like a synthesizer, but with strings.” 

With three out of the four members of the act being DJs, it seemed natural for Ladytron to slip in some vinyl scratching, blending beats in the vein of Portishead. Wu says they tried, but it was a “bad idea.” What about male vocals? Wu suggests listening very carefully to “International Dateline” on Witching Hour. The subtleness of male vocals rewards the listener paying close attention.

Aside from the discography complete with three full-length albums and 11 singles, Ladytron has spent time recording music videos for “Seventeen,” “Blue Jeans” and most recently, “Destroy Everything You Touch, ” to name a few. The art direction, like every other aspect of the band, is well thought-out with attention to detail. Wu adds that although he has enjoyed filming and creating the music videos, he would still like to work with directors like Michel Gondry or Spike Jonze, “but Chris Cunningham is probably the highest on [his] list.” And really, who wouldn’t want the director of Aphex Twin‘s “Come to Daddy” to direct their video?

A double disc EP/DVD treated fans in April of this year with remixed songs from Witching Hour as well as new tracks and the bonus videos, satisfying those of us who cannot wait until the next album. Music videos for “Sugar” and “Desire Everything You Touch,” as well as a short Ladytron tour documentary during their time in China showing them beyond their superhuman band personalities round out the short but sweet DVD. Remixes, most of the time, come from whoever the band asks to work on their tracks, Wu says. “We ask people whose music we like, like Vicarious Bliss, Jagz Kooner and Soulwax.” Wu also admits that he occasionally will throw down some Ladytron songs while he is DJing, as do the rest of the DJs in the band.

As Ladytron prepared to embark on their upcoming tour, Wu tells me how the live show for the band involves two additional members playing guitars and drums, allowing the quartet to focus on their synths. Because the band records with old original analog keyboards that break and often need repairs, it’s not practical for touring with all that vintage gear. Instead they travel with MS-2000Bs, Korg’s analog modeled synthesizer. Wu contributes, “We have about nine synths on stage and many more back in our respective studios.” Each of the four have given their synths a name, just to keep them identifiable during a sound check. The names “Gloria,” “Babylon,” “Ulysses” and “Cleopatra” don’t have any meaning other than that. Wu explains that their live shows are full of energy and the U.S. audience is their favorite, “seconded by the Russians.”

Following a busy year of touring, Ladytron plans to return to the studio and work on their next album. The band is unpredictable and strays from the parameters of any set genre. Perhaps we can count on the routine analog synths and the angelic voices of Helen and Mira. One thing that is certain with Ladytron, a band who does everything with perfection: It will be brilliant.

Ladytron performs with Cansei De Ser Sexy (CSS) on October 10 at The Depot. Tickets are $15 in advance, $17 the day of the show.