Album Review: Paradises | Ladytron
As I’m thinking of ways to open this Ladytron review, I can only come up with ‘What a rare case of a band it is’ and how examining their journey would be an exciting project by itself. To briefly explain, Ladytron have been actively releasing albums from 2001 to 2011, then vanished from discography for 8 years and resurfaced back in 2019 with their self-titled album LADYTRON – possibly symbolizing their revival and repositioning as a band. From this point they’ve been back on track, regularly giving us magic every 3-4 years with their latest Paradises being the reason for this review. Their hiatus is not peculiar considering Marnie’s solo albums took place and somehow filled this gap, however, their dynamic comeback is definitely an uncommon, refreshing paradigm of a band being reverently loyal to their craft for decades. Ladytron are electronic music veterans and 2026 is the year they prove it.
This brand new journey starts with I Believe in You, the lead single of Paradises which is one of those moments - that periodically occur in Ladytron’s catalogue - when repetition becomes languishing. Had this track been shorter, it would make a substantial enough bite of the dish that is being presented here. However, I Believe in You might serve the purpose of a long-lasting underground club banger. The following In Blood is a breeze of abstract poetry sung over synths that challenges us to visualize fantastical landscapes and elements of nature, as if we were back in the world of 2011’s Gravity The Seducer. In Blood is an instant crush. Now, the melody of Kingdom Undersea suffers the exact way I Believe in You does, excessively repeating itself to exhaustion but only to give its place to one of the most serrated anthems the band has ever created.
I See Red is a dance-worthy riddle of a track that possibly speaks about awakening in a world where everything is mechanically predictable and sense of freedom is lost. Hot like fire and revved up like a racing car, this one is not only a standout but an iconic piece that will live on beyond this album. The same can be safely said about A Death in London which grabs the torch with a soft power and a sublime elegance. Ladytron have crafted a mysterious space so real it feels tangible: It's night-time and we are found under an invisibility cloak visiting the darkest corners of a metropolitan city - Film Noir style. Mira's eccentric voice takes over in Secret Dreams of Thieves, a safe bet considering how every song she's ever sung feels connected to the other, like planets spread-out in the band's discography making a universe inside a universe. This one is no exception - it feels familiar but new, monotonous but intriguing. The following Sing hits like warm sunlight from its very first seconds and gives off this sense of youth and innocence found in Marnie's Strange Words and Weird Wars. It's overflowing with nostalgia and confidence, promising that everything will be ok and life goes on no matter what.
Free-Free carries a super hypnotic instrumental while at the same time a flat character given by its stretching choruses that overstay their welcome - a divisive entry in the album but one to re-think in future listening sessions. Just as hypnotic is the following Metaphysica (a title that screams Ladytron) with percussion that reminds of the band's early years, possibly because of its production. And then we are invited to dance to Caught in the Blink of an Eye - an instant favorite - as we move between the real world and an ethereal one: 'We appear and we disappear'. There's this strange feeling that Caught in the Blink of an Eye belongs to 2019's LADYTRON album but it's not easy to detect why.
Crossing through the laid-back Evergreen I take a chance to observe the cover art of Paradises which reflects the song perfectly: A moment frozen in time, jungle flora covered in fog and a godly hand that might be responsible for the creation around it. Maybe it's the exact moment of creation.Ordinary Love makes for the undeniable hidden gem of this album and will have you spellbound with its alluring synths and Marnie's powerful performance - cryptic in the verses and punching in the choruses. With our jaw dropped, we move on to We Wrote Our Names in the Dust, a dreamy, futuristic piece that flows between our hands like an elusive serpent made of water, refusing to settle for a specific shape. If the synths had a form it would be glass. Heatwaves takes our hand and walks us to the end of the album where Solid Light, a sister to Sing, bathes us in a piercing ray of hope and For a Life in London gives a grandiose sequel to A Death in London - a truly satisfying full-circle moment where the saxophone shines brilliantly one last time to offer an unforgettable encore.
To sum up, yes, I believe Paradises is a defining moment in the band's career same way Velocifero and Gravity the Seducer were, but that's a conversation for some other time. For now, let's say that Ladytron's vision seems clearer than ever and it shows. Paradises feel like a complete journey that leaves no stone unturned, walking a set path towards a specific goal. In other words, it decides to pick one thing and explain it through a number of perspectives instead of just making a collection of great songs. This is a highly cohesive experience that protects its core at all times. For the newcomers, it's a safe choice to be introduced to the band while for the old fans, Paradises is a breath of fresh air and a reminder that great things can still happen. Until next time, take care!
Listen to Paradises here:
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