[review 2005: the disappointments]

If anyone could have pulled it off, it would’ve been Ladytron. Thrust somewhat unwillingly into the role of electroclash pioneer, Ladytron have always floated somewhere above the Miss Kittins and Peaches of the world; not quite content to merely rehash the 80s, there were times when Ladytron attempted to remake it in their image. 604 was the raw blueprint, “Commodore Rock” their call to arms. Then Light + Magic hit, and it was as if Ladytron had pulled their music straight into hyper-Technicolour. It was an album that sounded larger than life, a fully realized depiction of a seductive plastic utopia. If Ladytron had had any smarts, they would’ve figured out how to top the accomplishment, or quit while they were ahead. Unfortunately, the band did neither.

Let’s get a couple of things out of the way. First off, the resurgence of the guitar has not been lost on Ladytron; while electronics still dominate on Witching Hour, you can hear the influence of the guitar in the distortion that coats almost every track. “High Rise” is a prime example; what should’ve been Ladytron’s “Commodore Rock Revisited” is blunted by the traditional—dare I say boring?—arrangement of drums, guitars and keyboards. Helen Marnie’s vocals take a hit as well; the vocal effects turn her into a ghost on her own track, barely able to rise above the muck of the surrounding instruments. Far from the crystal clarity of Light + Magic, the fuzzier sound of Witching Hour puts distance between the songs and the listener. It’s less immediate.

This wouldn’t be so much of a problem if the songs behind the thick veneer were worth examining; this is true only occasionally. Another major problem with the album is that Ladytron have run short on ideas. “High Rise” is a song that should’ve been much better than it is. “International Dateline,” however, is exactly as good as it sounds, which is to say not very. And if you listen to “High Rise” and “International Dateline” back to back, you’ll hear pretty much the same melodic hook. This happens again, though not so blatantly, on “Sugar” and “The Last One Standing.” All this repetition does is add substandard material to the album’s running time while blunting the effect of the superior versions. Why even bother?

And then there’s the most heartbreaking change of all, the apparent loss of Mira Arroyo. When Light + Magic began to feature Helen Marnie’s vocals on more songs, everyone praised it as a smart move. It took Ladytron away from the more strident feel of 604, and it gave Ladytron more options. Unfortunately, as great as Marnie sounds, she dominates Witching Hour. Marnie is the group’s Janet Jackson; she’s got a pretty voice, but it’s not versatile enough to carry a whole album. Arroyo’s thick, Bulgarian vocals are sorely missed. Perhaps it’s just the band couldn’t write enough new songs that used her effectively; “Fighting in Built Up Areas” and “amTV,” while not up to the standards of previous albums, are two of the better songs on Witching Hour, and they’re both fronted by Arroyo. They should’ve tried harder; a “Flicking Your Switch,” “Nuhorizons” or a “Paco!” would’ve added much-needed variety to the album, especially if the cost is a throwaway like “White Light Generator” or “Weekend.”