Translated as “bringer of speed,” Velocifero, the newest effort from London’s Ladytron, makes good on its word as a charging, propulsive vehicle of steely synth ?rock. Co-?fronting femmebot Mira Aroyo, the Bulgarian beauty behind much of the group’s goth-?electro image and lyrical mystique, opens up to NOW about adrenalin addiction, teen flicks and the non-?influence of Duran Duran prior to their free show at Harbourfront Centre Friday (July 4).
Ladytron are road warriors; you seem never to stop touring. How do you keep it going?
Yes, we are tour monsters. It takes its toll, but it’s also really good fun. You get a kick out of meeting new people, seeing new places and playing your music and having good responses, having people dance. You get quite an adrenalin kick, and you get addicted to that as well.
You don’t print your lyrics on your record sleeves and rarely discuss their meaning. Why are you so guarded about them?
The lyrics are there to enhance the melodies, and it wouldn’t be right without the music. We don’t really talk about them, because they’re just images and snapshots that other people can interpret the way they like. There’s no point putting a big cage over a song; I think it shortens its lifespan. And some of the time we don’t remember why we wrote these lyrics. Even for us the interpretation changes.
I’ve read you’re a big horror movie fan. Could you see Ladytron on a slasher soundtrack?
We’d love to do a soundtrack. Horror soundtracks are really fun because you can be spooky and stuff like that, and I think they fit quite naturally with us – or we could do a road movie or maybe a teen flick soundtrack.
A teen flick?
Like an old-?school teen flick, like 70s, early 80s, something like Over The Edge. The soundtrack from There Will Be Blood blew me away, and I didn’t even know it was the guy from Radiohead. It wasn’t anything obvious. It was really atmospheric and really great, and it makes you think, “Wow, I’d like to do something like that.”
You recorded Velocifero at Paris’s Studio de la Grande Armée, where arty Duran Duran offshoot Arcadia tracked So Red The Rose. Could you still feel the magic from those sessions?
Not really, amongst the millions of things, that probably influenced us least. We do like Duran Duran, but I don’t think that influenced us. It was funny they recorded there, because it was a very 80s studio in the way that it looked. It provided more amusement than inspiration.
Vocally, you’re a lot more present on Velocifero than on Witching Hour. Was this a conscious move to grab some spotlight?
It changes album to album, depends on what we write and how it works out. I don’t think people could tell I was there on a lot of Witching Hour. Some places people didn’t even know I was doing vocals because it was just so thick. I was probably as present, but it was mixed differently. We don’t really decide stuff like that. It just happens.
With two guys and two girls in Ladytron, has there ever been a Fleetwood Mac Rumors-?era-type situation?
Not yet. Probably because we’re not Stevie Nicks, we don’t blow cocaine up our asses at parties on tour. Those were different times.