The new chapter for Ladytron follows a hiatus which saw half the group move across hemispheres, and all experiment with solo projects and new collaborations, after five albums and a succession of world tours over the previous ten-year period.
Originating in Liverpool, the band, made up of Helen Marnie, Daniel Hunt, Mira Aroyo and Reuben Wu earned that decade of acclaim by relentlessly pushing boundaries, carving out new sonic and conceptual space and refusing to abide by formula or trend.
At the beginning they were known for shows in unconventional spaces, such as disused banks and bowling alleys, and placed emphasis on countries and cities other than their own. Thus the group’s international recognition quickly grew — playing in places where few artists went at that time, such as China in 2004 and Colombia in 2006. Along the way they twice took their primitive electronics to California’s Coachella Festival, on relentless tours across Europe, Asia, North and South America, and were invited to perform with artists such as Bjork, Nine Inch Nails, and for Brian Eno at the Sydney Opera House. Eno remarked in an interview, “Ladytron are, for me, the best of English pop music. They’re the kind of band that really only appears in England, with this funny mixture of eccentric art-school dicking around and dressing up, with a full awareness of what’s happening everywhere musically, which is kind of knitted together and woven into something quite new.”
Having made their name with minimal lo-fi debut, 604 in 2001, its successor, 2002’s synth-soaked Light & Magic, had Ladytron grouped with the so-called Electroclash wave, while 2005’s Witching Hour saw them break out and win over a whole new audience. Pitchfork wrote: “Every quantum leap record has a quantum leap single, and in this case, it’s “Destroy Everything You Touch.” With a charging chorus and shivery production that sounds as equally indebted to shoegaze as it does synthpop, this is probably the most confident and menacing thing they’ve ever done.”
2008’s harder, darker Velocifero saw them grow further with the iconic singles “Ghosts,” “Runaway” & “Tomorrow.” They were then invited by Christina Aguilera to write and produce tracks for her forthcoming album.
A decade’s retrospective was released in 2010, featuring a new single “Ace of Hz” and to follow, 2011’s Gravity the Seducer took up a cinematic thread which had weaved through the previous albums with “White Elephant,” “Mirage” and standout “White Gold.” After another accompanying world tour that culminated in a euphoric sell out at the Los Angeles Wiltern, the band took a well-earned break, a pause that would grow longer than anticipated.
In mid-2016 the band quietly began to write and record together again and are now in the process of working on their sixth full-length album, to be released later in 2018, which picks up the trail with their songs and raw characteristics taken forward with a new palette of atmospheres and themes.
Downtown Berkeley is easily accessible by all modes of transportation including BART, bus, bicycle, and automobile.
Center Street Garage
Golden Bear Parking Lot
The Downtown Berkeley BART Station is located in downtown Berkeley on Shattuck Ave. between Center St. and Allston Way. BART serves San Francisco/Colma, SFO/Milbrae, Fremont , Richmond , Dublin / Pleasanton , and Pittsburg/Bay Point.
AC Transit serves the downtown with numerous bus lines and the UC Campus Shuttle circles the campus every 12 to 30 minutes during peak hours. More than 2,500 parking spaces are available on the street and in parking garages and lots throughout the downtown.