Ladytron

Liverpool's Ladytron (Daniel Hunt and Reuben Wu on electronic keyboards, Bulgarian-born Mira Aroyo and Helen Marnie on vocals) sparked electroclash, the revival of the new wave (the dance-club version of the new wave, as in Blondie and B52's, not the creative-underground version of the new wave) with He Took Her To A Movie (basically a cover of Kraftwerk's The Model). But the album 604 (Emperor Norton, 2001) sounds like yet another British retro` fad, and its pop ditties (the hit Playgirl, Paco, Commodore Rock) may be entertaining for a night but constitute no big news (He Took Her To A Movie is reminiscent of Kraftwerk's The Model).

Light & Magic (Emperor Norton, 2002) is even more straightforward synth-pop and disco-music (the hit Seventeen, Nuhorizons, Blue Jeans, Re:Agents, Turn It On). They make Aqua sound like Beethoven.

Softcore Jukebox (Emperor Norton, 2003) is a mix disc.

A human drummer made the sound of Witching Hour (Rykodisc, 2005) catchier but less danceable (the notable exception being the house orgy Destroy Everything You Touch). Thus Sugar, Beauty and International Dateline ignited a Copernican revolution in electroclash, basically closing an ephemeral fad. For Ladytron that meant a less bombastic and more personal style. The emotional peak was Fighting in Built Up Areas.

Extended Play (RykoDisc, 2006) compiles remixes and rarities.

Velocifero (Nettwerk, 2008) did not attempt any major move, contenting itself with delivering elegant and poignant constructs such as Black Cat, Runaway , Ghosts, Burning Up.

Best of 00 - 10 (2011) is a career retrospective. Compared to those songs, Gravity the Seducer (2011), sounded positively pointless.

Ladytron resurfaced with the albums Ladytron (2019) and Time's Arrow (2023).