Although Ladytron has been around since 2001, casual music fans could ignore the chronology and write them off as part of the recent synth pop revival.
Gimmicky bands from this indie electronic explosion misrepresent the genre by relying on the camp factor of using outdated synthesizers and drum machines.
Ladytron, however, should be approached in earnest without accusations of riding the trends, because it tries to remove the stigma of primarily using keyboards to create rock-based music.
Its latest release, Witching Hour, gets the tagline of being their 'aggressive' album, which is true to an extent. The beats per minute are not significantly faster than its previous work, but the beats sound more like they are coming from a live drummer.
There are still moments of the four-on-the-floor technique, which, when combined with the gloom and anger conveyed in the lyrics and atmosphere, make the album sound like it has come from a neo-goth club.
The source of this edge to the album starts with the distorted vocals that play into the themes of particular songs. The echo and backing vocal line in the breakup track 'International Dateline' convey the distance of the couple.
When the line 'Let's end it here' repeats over the industrial thump, she makes her intentions and her feelings known at the same time.
It is not only the manipulated vocals that give Witching Hour its dark charm. Ladytron begin to understand the power soundscape, which makes many of its contemporaries seem flimsy by comparison.
Highlight 'Soft Power's' multiple keyboard hooks and feedback give it a spooky vibe. The shoegaze influence is felt throughout the album. The lead single 'Sugar' rejects safe tones for a leading riff that sounds lifted from My Bloody Valentine's Loveless.
The album contains a few moments when Ladytron favors down-tempo, subtle ambience. 'Beauty #2' starts with telephone vocals supported by a soft piano line and builds into a dire plea as the background pushes to the foreground. This skillful shift proves Ladytron's maturity and versatility.
Ladytron succeeds in combining dance club techniques with strong pop sensibilities on Witching Hour. The moodiness and murkiness make the album a perfect fit for the late autumn/early winter months, though the album is a little top-heavy and can not keep up the intensity of the first few tracks.
The second half contains more of the Ladytron's dreamy persona, which is not as consistent. The closer, 'All the Way' is so light it practically floats away. And after the emotional heavy pulse of the album, who can blame it?
