Ladytron

Someone once said to me that electronic musical instruments - synthesizers and the like - have no soul. They are not something that belong on a stage or to be used to create anything other than radio jingles or TV channel stings. At the end of the day though, every instrument, be it electronic, wooden or made of snakeskin is just a collection of materials arranged in the right order to produce a sound. Today I argue the corner of Korg, Roland and Bob Moog - instruments aren?t created with emotion, the emotion is provided by the musician - enter Ladytron. Pulsating waves of electronic moodiness tickle my nether-regions whilst the whole room sways in an almost robot-like trance. Ladytron can cross the bridge that Ian Curtis began to build - as if he were the main man behind New Order or Electronic (however ridiculous that sounds). However, something isn?t quite right here, it should be simple and the most perfect live experience imaginable, but it just doesn?t quite work. Songs such as tonight?s encore ?Seventeen? are exactly what Ladytron should be about. The most infectious, ingraining vocal line over equally irresistible pounds of drum and synth stabbery creating a perfect gem of electronic Interpol. Too often though, I find my mind wandering. Sure, the room-engulfing noise is enthralling and the landscapes that the multiple simultaneously quivering noise-boxes are technically impressive, but there isn?t that hook - a rocket-launch of melody that maintains interest for the entirety of a song. Ladytron have a place, they weave such depth into their music that it?s hard not to be pulled in just a little bit, but with such a resounding lack of stage presence and only a few real discernible ?songs?, they will keep their place in my heart as the perfect accompaniment to my next reading of Geroge Orwell?s ?1984?.