Ladytron was one of the acts that leads the British club scene in the 00s, the synth poppers from Liverpool branded a sort of sound branded as 80s revivalist with some contemporary electroclash sound, now that style has been redefined with some indie sleaze and slices of electronic sounds from the 80's and 90s.
The album opener "I Believe In You" come to put things clear and focus in the future of the now trio than stick in the old 00's nostalgia sound with its funky techno-percussion until the whole thing pulse like a mechanical device deckecd out in disco lights, actually this album is the act's most dance-oriented record since their "Light & Magic." Another remarkable track is "I See Red" an upbeat tune just like anything else on the record, with Helen Marnie and Mira Aroyo's vocals purr darkly over a spiral of tremendous sounds, "A Death In London" is surrounded with sinister string sounds and silky sax solos with fairlight CMD samples to create a sort of kitsch atmosphere, or the murmur and reserved style althought entrancing on "Ordinary Love".
Ladytron’s hooks are every bit as addictive as their rhythms, proving that they haven’t lost their knack for perfect pop. "Kingdom Undersea" moves just like on the style of Scissor Sisters piano style, and then the euphoric and luxurious haouse beat on "Sing" or the deliberate, velvety, almost neoclassical synth ostinato which pulses in the centre of "Metaphysica" taht brings to mind Visage's classic "Fade to Grey", lent new life and urgency by the chattering mass of synthesised voices, pert handclaps, pounding electronic drums, and sonic-screwdriver sweeps which surround it.
Another outstanding track is "In Blood" that sees Aroyo and Marnie’s co-lead vocals soaring in formation over the top of stately whirrs and clatters and a woody-sounding staccato melody, adding up to a sound which sprawls like a magnificent landscape viewed from a mountain peak. "Evergreen" takes a blockier shape as its bright solid rhythms clack along cheerfully. With higher, thinner synths keening around them and dream-sequence harps
The harp gets another outing on "We Wrote Our Names in the Dust", beaming striped shafts of light into the prowling ravey drums and Vox Humana-ish tones of its dark sci-fi setting. In keeping with the album title, each song on Paradises manages to build a new world within its synthesised bounds, evoking everything from tropical islands to sleek spaceships to long-lost cobbled city streets. It’s no wonder, then, that a record of such soaring imagination should so often take on a sense of childlike joy to match.
The unusually light vocals on "Secret Dreams of Thieves" sound out syllables like a Speak & Spell, and between the song¡s energetic electro beats and thickly swirling synths, the thrilling end result practically jostles you onto the dancefloor. Although trotting along at a steadier pace and laced with an undertone of slinky menace, the primary-colour pop grooves of "Free, Free" are just as hopeful as the empowering lyrics.
The enchanting song on the album "Caught in the Blink of an Eye", which sees the band momentarily dropping their escapist outlook to reflect on mortality. On the final two tracks, Ladytron choose to leave us with this spirit of optimism and celebration. The emulated strings and bells of "Solid Light" may be entirely computerised, but they ring and chime with a tactile sense of wonder. Reaching for the sun from its first note, the song only goes up from there until it hits an ecstatic fake-out ending which could well make it the perfect concert closer. Then at last, "For a Life in London" guides us gently back down to earth, folding just about every texture we’ve encountered on the record behind a spoken-word reminiscence and wrapping it all up in another ribboning sax solo.
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