Average User Score: 8.3May 6, 2013It continues to be exciting to see and hear this classic electronic/synth-pop band making new music again after their surprising 2006 reunion,It continues to be exciting to see and hear this classic electronic/synth-pop band making new music again after their surprising 2006 reunion, bringing together, for the first time since 1989, the classic line-up of Andy McCluskey, Paul Humphreys, Martin Cooper and Malcolm Holmes. After a successful 2007 tour, where they spotlighted their 1981 masterpiece (and still generally considered their best album overall), "Architecture and Morality", they went into the studio and in 2010 released the first OMD album since 1996, and the first with the classic line-up since 1986's "The Pacific Age". That album was titled "History of Modern", and it was one of my favorite albums of 2010. I thought the album was a wonderful and eclectic collection of all of OMD's creative phases from their eponymous 1979 debut to 96's "Universal". Some fans were a little underwhelmed by this approach to coming back, and, admittedly, "History of Modern" does evince a lack of cohesion style-wise and lyrically speaking, especially in terms of the seeming narrative thread suffused through most of the album; and that's why the singles "If You Want It", "Sister Marie Says" (an actual 1991 throwback/outtake from the "Sugar Tax" sessions) tend to stick out thematically and sound-wise. Then there's also the very non-OMDish, "Pulse", which sounds like someone else's tune. However, I really liked the track, regardless, and thought it was one of the catchier songs on the album. But the real highlights on "History of Modern" were the tracks that stuck to the main narrative flow like the two-part title-tracks and "The Right Side", "Bondage of Fate", "New Babies: New Toys", "The Future, The Past, and Forever After", "RFWK" (OMD's homage to one of their biggest influences, Kraftwerk) and "New Holy Ground".
Now with the new album, "English Electric", the band has jettisoned the more synth-pop aspects of the previous album for a much more overt Kraftwerkian electronic sound and theme that comes off like a 1939 New York World's Fair revisited with accompanied "come-down" of the future's optimistic possibilities. Some have compared "English Electric" with 1983's "Dazzle Ships", and I'm inclined to agree, though I feel the new album isn't quite as adventurous and groundbreaking as the former album was; and understandably so seeing as there's a thirty-year gap between those particular albums. Also, the new album has a pronounced dystopic feel to it, where as "Dazzle Ships" was more optimistic about the future, which is also understandable given what has transpired in the ensuing years, especially since the millennium. Overall, I'd say that even though "English Electric" is the more cohesive of the two albums, between it and "History of Modern", I still prefer the latter by a few degrees, because I think its best songs are better than "English Electric's" best ones; and though I DO certainly "like" the new album, it doesn't really bring anything new to the proverbial table musically speaking, whatever its good points on display here. Still, I really like, and ultimately agree with, its less than optimistic view of the present and coming future. I definitely look forward to what OMD comes up with next time round, but I do hope it's a little more progressive whatever it may be.… Expand
Average User Score: 7.6Sep 14, 2011Having listened to Ladytron's new album three consecutive times on the day of its release, and then the magnificent penultimate track, "NinetyHaving listened to Ladytron's new album three consecutive times on the day of its release, and then the magnificent penultimate track, "Ninety Degrees" umpteen more times besides, I was instantly convinced, much to my relief, that "Gravity the Seducer" was, in fact, an improvement over 2008's "Velocifero". It wasn't that I disliked "Velocifero"; it features one of my all-time favorite Ladytron tunes: "Versus" (easily the album's best track), and it displayed several other strong tracks as well: "Ghosts", "Deep Blue", "I'm Not Scared" and "Season of Illusions"; it's a fairly adventurous album. But I just felt "Velocifero" lacked the consistent quality of their previous album, the masterful "Witching Hour" (still their best album IMO), despite the evident energy and propulsive beats of the former (which some Ladytron fans very much favour). Interestingly, "Gravity the Seducer" is quite a subdued and wistfully atmospheric album by contrast, but that doesn't bother me in the least, because, again for me, it's all about the quality of the material whatever the tempos may be. Now I won't argue that the new album doesn't exactly represent a "dramatic progression" in terms of artistic growth for Ladytron; they DO seem to have reverted back to the more consciously melodic moods and urban, 21st century melancholy found, particularly, on "Witching Hour" (I'm thinking: "All the Way", "Soft Power", "CMYK", "Beauty 2" and "White Light Generator"; my favorite track from that awesome album), but, again, I won't necessarily hold this against them when it's, after all, one of the band's great strengths, and has resulted in recording some of the best stuff (again, IMO). If you're a big fan of electro-pop "bangers" (especially those featured on past Ladytron albums, particularly, although "Mirage" comes close on the new album) then perhaps "Gravity the Seducer" isn't for you. But if you're a Brian Eno fan, for instance, and generally a fan of more ambient, melancholy, romantic sounds, and shimmering, undulating melodies with affecting, emotional (that's right, I said "emotional" all the while referring to a Ladytron album; granted that emotional core stems from the music itself for the most part) lyrics and vocals (especially on the album's crown jewel, "Ninety Degrees"!) then, by all means, have at it with this dreamy, "seductive" and wonderful new Ladytron album!… Expand