{"id":2059,"date":"2011-02-13T20:51:16","date_gmt":"2011-02-13T19:51:16","guid":{"rendered":"http:\/\/www.ravenfamily.org\/sam\/?p=2059"},"modified":"2011-02-13T20:55:58","modified_gmt":"2011-02-13T19:55:58","slug":"sam-reviews-witching-hour","status":"publish","type":"post","link":"https:\/\/www.ravenfamily.org\/sam\/2011\/02\/13\/sam-reviews-witching-hour\/","title":{"rendered":"Sam reviews: Witching Hour"},"content":{"rendered":"

\"avatar\"Ever since BMX XXX<\/a> I have paid particular attention to the music used in video games. I’ve got a lot of material in my collection that wouldn’t be there without a combination of video games and the likes of Pandora (I’m currently using Last.fm<\/a> for the same purpose because UK users have been blocked from Pandora).<\/p>\n

As you’ll have noticed, recently I’ve been spending a lot of time on Little Big Planet, and the playlist for LBP2 is excellent. My favourite, by far, is Ladytron’s Ghosts<\/i>, to be found in the Death By Shockolate<\/a> level:<\/p>\n

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Every so often a track has a shape that does something for me that I really need, for whatever reason, at that particular point in time. In the past I’ve developed obsessions over Massive Attack’s Angel<\/i>, Pass the Hatchet<\/i> by Yo La Tengo, Yeasayer’s Ambling Alp<\/i> and many others, from Vivaldi to the Dandy Warhols via Murray Gold. Right now the track that’s doing it for me is Ladytron’s Ghosts<\/i>.<\/p>\n

So much did I like this track that I bought one of their albums, Witching Hour<\/a>. I was blown away. It is rare that I buy an album and have to comment to Frood that it is just brilliant.<\/p>\n

Ladytron’s sound is somewhere on a spectrum that includes Goldfrapp, the Sisters of Mercy, Gary Numan, Depeche Mode, Cibo Matto, the Cult, Jefferson Airplane and Shakespears Sister. The band comprises Liverpool producer and DJ Daniel Hunt, Reuben Wu and singers Glaswegian Helen Marnie and Bulgarian-born Israeli Mira Aroyo.<\/p>\n

The two women have vocal styles that both complement and counterpoint one another, with Marnie’s soft but assertive lead underpinned by Aroyo’s more spoken style. The soft-rock electronica ranges from harsh, dark reverb (Soft Power<\/i>) to the sort of gothic effervescence that belongs running across rooftops with a heavily made-up Brandon Lee (High Rise<\/i>), with a couple of whimsical diversions (eg Cymk<\/i>) for light relief. This is certainly not an album you could describe as homogenous. High Rise<\/i> is a stonking opener while Fighting In Built Up Areas<\/i> stands out for its relentless pounding and Aroyo taking the lead in Bulgarian, lending interesting architecture from the vocalised sibilants. One of my favourite tracks is Last Man Standing<\/i>, which has the same shape as bluebells in a sudden downpour on an otherwise sunny day.<\/p>\n

It is very rare for me to come across a band I like this much instantly. I expect I shall be acquiring the rest of their discography in due course.<\/p>\n

And thank you, Media Molecule, for introducing me. Take note, music moguls: rather than charging a fortune for the rights to use tracks in video games, you should be considering just how many sales will result from people wanting to buy the music.<\/p>\n","protected":false},"excerpt":{"rendered":"

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