Celestial, hypnotic and vibrant

In 1999, the English electronic band Ladytron embarked on their musical journey in the heart of Liverpool, U.K. Since the group’s formation, they have released a number of successful albums and collaborated with famous artists, ranging from Nine Inch Nails to Christina Aguilera. For two decades, Ladytron has been pushing the boundaries of the music industry, while forging their own eccentric path, refusing to follow ever-changing societal trends. Their line-up consists of Helen Marnie, Mira Aroyo, Daniel Hunt and Reuben Wu, who have garnered international recognition for their fiercely alternative electro-pop sound. 

Ladytron’s use of rippling arpeggios, shoegaze, disco and industrial harmonies, accompanied by eerily beautiful female vocals, has defined their signature electro-pop style. Many of the group’s songs discuss meaningful topics surrounding the essence of human emotions, societal concerns and life experiences. Ladytron’s nonconformist and experimental approaches to their lyrics and sound create an unsurpassed experience for listeners.  

The group recently released their seventh album, Time’s Arrow, to musical fanatics worldwide on January 20, 2023. The album consists of 10 songs that transfer listeners’ minds into the midst of a cyberpop coming-of-age film; soaring through the sky in a hover-car, top down, music blaring and wind in their faces. The album’s sound delivers a celestial and calm atmosphere in a dream-like fashion, while the lyrics represent a darker take on life and society.

“City of Angels,” starts off with dual female vocals harmonizing in a siren-like manner, layered on top of intense distorted synth-pop harmonies. It feels as though the album is hypnotizing their listeners to just take a breath and indulge in the serene and ethereal atmosphere consuming their being. “Faces,” follows up with a repetitive piercing organ progression fused with a mesmerizing combination of both disco and shoegaze melodies, accompanied by Marnie’s and Aroyo’s soul-stirring vocals. Few of the tracks follow a similar structure and sound; however, “Flight From Angkor,” “The Dreamers,” “Sargasso Sea” and “Time’s Arrow” are unmatched in comparison to the remaining songs on the album. 

The fourth track, “Flight From Angkor,” begins with a slow, steady industrial synth progression leading into Aroyo’s hypnotic and monotonous serenade. The song evolves with each interlude through the intensifying build of oscillating synth lines and piercing guitar chords. Later, the album transitions into “The Dreamers,” which sounds similar to other tracks on Time’s Arrow; however, Ladytron’s lyrical approach to this track was unparalleled. The lyrics describe feelings of imagination and aspiration, but time is fleeting, perfectly exemplified by the harmonization of, “Faster now we know time waits for no one / the atmosphere has changed / we are the dreamers / dreaming our way out of this town.”

“Sargasso Sea” opens with an unexpected compilation of sounds and samplings, such as chirping crickets and chattering birds, accompanied by sound effects of pops and snaps. The celestial vocalization leads to an ambiguous short set of lyrics, providing listeners with an open interpretation. The final track, “Time’s Arrow,” concludes the album with an equivocal yet satiated feeling. Their use of shrill and low-pitched synth harmonies combined with the chilling, dark female vocals illustrates the sense of time running out. These songs’ lyrical and musical distinctiveness was an unforeseen delight compared to the other tracks’ energetic and alternative electro-pop harmonies. 

All of the songs on this enthralling, ethereal album emanate Ladytron’s free-spirited and unconventional approach to their musical endeavors while experimenting with various instruments and sounds. With the unveiling of Time’s Arrow, the Liverpool electro-pop band reaches for a graceful sound, capturing the passage of time with vibrant synths and enigmatic lyrics.