By Kat Bein
By Shea Serrano
By S. Pajot
By Terrence McCoy
By Falyn Freyman
By Shea Serrano
By Jacob Katel
By Michael E. Miller
It's hard to believe it's been an entire decade already. Ten solid years of beautiful bleep-bleep, bloop-bloop synthpop courtesy of the Liverpool-based quartet Ladytron. Twelve if you count that 1999 EP, Miss Black and Her Friends, released only in Japan.
But after five studio records, a live album, a few compilation discs, and a handful of EPs, Ladytron remains as relevant as ever. And unsurprisingly so. In its long, lush decade on the scene, the group has steadily matured, constantly pushing its sweet yet chilly sound into realms beyond the expected, and its latest, Gravity the Seducer, is a perfect example.
The new release is less about beats and more about roots. Each track on the album is an intricate homage to pop music that mines the past half-century for sonic inspiration. Hushed and ambient, though still intense, this is the kind of dense and brooding indie-dance stuff that'll throw you into a cold sweat. Like a pretty, paranoid dream on a 100-degree night, "Ambulances" shimmers and twitches while "White Elephant" seems to soundtrack some nocturnal trance and "Ace of Hz" struts through glittering back alleys.
697 N. Miami Ave.
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Studded with dark synthpop diamonds, Gravity the Seducer is a glam, shoegazey miniset, perfect for a druggy private party — or if you're heavy into public scenes, flailing around Grand Central's packed dance floor this Saturday.
So when Ladytron wraps up its North American tour in downtown Miami, take shelter in the club's main cave and shimmer, slip into a trance, and strut along to "Ambulances," "White Elephant," and "Ace of Hz." The group will celebrate yet another successful year in one of the most competitive businesses on the planet. And fittingly, it'll take place in the Magic City.
After all, we Miamians have always harbored an outsize appreciation for Ladytron's brand of beautiful bleep-bleep, bloop-bloop synthpop.