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Witching Hour Import

5.0 étoiles sur 5 1 commentaire client

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Promotions et bons plans musique CD Vinyle Promotions et bons plans musique CD Vinyle


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Page Artiste Ladytron


Détails sur le produit

  • CD (4 octobre 2005)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B000AY9ON0
  • Autres éditions : CD  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 473.838 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. High Rise
  2. Destroy Everything You Touch
  3. International Dateline
  4. Soft Power
  5. Cmyk
  6. Amtv
  7. Sugar
  8. Fighting In Built Up Areas
  9. The Last One Standing
  10. Weekend
  11. Beauty*2
  12. White Light Generator
  13. All The Way
  14. [Hidden Track 14]

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Par Stan FREDO TOP 500 COMMENTATEURS le 17 février 2013
Format: Album vinyle
Ladytron est un quatuor britannique de musique principalement électronique. Le groupe s'est formé à Liverpool en 1999 autour de Helen Marnie (chant, synthétiseurs), Mira Aroyo (chant, synthétiseurs), Daniel Hunt (synthétiseurs, guitare et chant) et Reuben Wu (synthétiseurs). Le groupe a publié à ce jour 5 albums studio, dont le 3è, 'Witching Hour', a été initialement publié par Island Records le 3 Octobre 2005. Il s'agit ici de la réédition en 2012, sur support vinyle (rouge) par le label connoté "indus techno rock" Nettwerk.
Cet album est apparemment celui d'une relative consécration critique et publique, au-delà du petit cercle des spécialistes "branchés" formé dès les débuts du groupe.
De fait, si le climat est plutôt "dark", "triste" et limite gothique, et si les synthés sonnent "vintage" comme ceux de The Human League avant 'Dare / Fascination! (Deluxe Edition)' (cf. notamment 'Travelogue - Edition Remasterisée'), le projet de Ladytron est résolument "pop". "Dance pop" même avec 'Destroy Everything You Touch', "pop" tout court avec mon titre préféré ici 'The Last One Standing', pop-rock avec plusieurs sélections, dont 'International Dateline'. 'Soft Power' commence comme un titre "full electro" avant de se muer en disco nostalgique de Moroder.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x90250fc0) étoiles sur 5 59 commentaires
37 internautes sur 40 ont trouvé ce commentaire utile 
HASH(0x92164a20) étoiles sur 5 Where's Mira? 5 octobre 2005
Par Michelle Wynne - Publié sur Amazon.com
Format: CD Achat vérifié
This album is in some ways a step up for Ladytron and in some ways a step down, depending upon how one chooses to look at it. On the positive side, "Witching Hour" is warmer and more mysterious than anything they have previously done. The soundscapes are incredibly lush and sweeping while also dense and fuzzy. This makes for a very interesting listening experience and Helen Marnie's vocals are better than ever. She sounds almost surreal, particularly on "International Dateline" and "Beauty*2". In a word, WOW. On the negative side, Mira Aroyo is featured on only two tracks and her presence is not nearly as prominent on this album as it was on previous albums. I have always thought that the interplay between her thick, Bulgarian vocals and Marnie's sweeter, more melodic vocals really gave Ladytron an edge. While Marnie has the voice to carry the album herself, she sounds better when complemented by Aroyo and similarly, Aroyo sounds better when backed by Marnie. Aroyo has always been less vocally prominent than Marnie and on this album she is almost non-existent. One fears that she will disappear into the background as Marnie takes over as the frontwoman of the band. My only other complaint is that I can't quite figure out the hidden track. This album contains a "hidden" 14th track, yet it is nothing but nine minutes of silence. Perhaps this is supposed to be symbolic? Who knows? "Witching Hour" is otherwise a very strong effort and an album that rewards repeated listening. It is definitely on my top ten list of albums released in 2005.
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x92164c6c) étoiles sur 5 Icy cool, 21st century pop 6 décembre 2005
Par cagey - Publié sur Amazon.com
Format: CD
This is my first purchase of a Ladytron album, actually my first purchase of anything of theirs, since I've only been a very casual fan since their beginning. I've really only heard their singles "He Took Her To The Movies" and "Seventeen". There is much more material on "Witching Hour" that grabs you at first listen, though. The songs may have more melody, for the most part. So it's not surprising that fans of their earlier work may feel jilted by their new pop accessibility (although I felt the early singles were accessible as well) or the disappearance of any existing eccentricities.

The single "Destroy Everything You Touch" has a driving dance beat reminiscent of the 80's hits of Depeche Mode or New Order. I couldn't stop playing this after I downloaded it from iTunes. Then you notice the other songs and practically everything has something to offer. There are no tracks that I skip (not counting the final silent track). Songs like "Sugar" and "Weekend" are the kind I love playing LOUD speeding down a dark highway. "Beauty*2" has a fragile, haunting quality to it and I wish it didn't end so soon. "International Dateline" is another that stays in my head days after I hear it. The whole album is well produced and SOUNDS great.

I would place this as probably my favorite album of 2005 after Thievery Corporation's "The Cosmic Game". I have no reason not check out Ladytron's earlier releases after hearing this stunning album. **** 1/2 stars.
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x92164eac) étoiles sur 5 Just Right... Warm, Dense & Electric... 17 janvier 2006
Par Rafael Cova - Publié sur Amazon.com
Format: CD
The atmosphere of this record is electric and dark at the same time, beautiful at times and noisy and disturbing at others, like all the best records should be. "Witching Hour" is an album that reaches further than its predecessors: warm and dense, there is a feeling of susceptible magic wrapped within all tracks.

Witching Hour achieves a certain timelessness. Sure, these songs betray the inspiration of three decades of electronic pop, but none of them touch long enough to leave a fingerprint. Instead, Ladytron's warm songs sound new, retro and familiar without ever letting on that they've ever listened to synth-pop before.

The artful blend of darkness and warmth ultimately proves to be the record's best asset; it's a delicate balance, but Ladytron gets it just right.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x900dc228) étoiles sur 5 Popmatters Review by Adrien Begrand 5 octobre 2005
Par N. Smock - Publié sur Amazon.com
Format: CD
This review sums up, nice and objectively, how I feel about Ladytron's excellent new third album.

"Ladytron have always excelled at juxtaposing contrasting styles in both their music and their image, be it synthetic versus organic, or warm versus frigid. They have stylish haircuts, but dress in rather utilitarian-looking clothes onstage. Their recorded music is heavily dominated by synthesizers, but their live show has included real drums and guitar. Helen Marnie sings in a disarmingly soft voice, while Mira Aroyo spits her vocals in a cold, Eastern European monotone. Audiences don't know whether to dance or stand looking like bored indie rock fans; even the band's song "Playgirl" asks, "Why are you dancing when you could be alone?"

After the charming mishmash of electro, post punk, and pop rock on their lauded 2000 debut 604, Ladytron, fronted by the vocal yin-yang of Marnie and Aroyo, with Daniel Hunt and Reuben Wu quietly doing their thing in the background, decided to add considerable polish to their sound on 2002's uber-hip Light and Magic. Buoyed by the single "Seventeen", the album helped bring the electroclash craze above ground, alongside the likes of Adult. and Fischerspooner, but to their credit, Ladytron refused to allow themselves to be lumped in with the rest of the synth pop fad, and over the past three years, they've continued to evolve musically. With the addition of a full band behind the synth quartet, their live sound began taking on more of a krautrock style, as rigid Kraftwerk elements meshed with a more progressive, Can-style element. The 2003 mix CD Softcore Jukebox offered hints of Ladytron's continued growth, from the cover photo of Marnie and Aroyo, an homage to Roxy Music (whose song is the band's namesake), to the reworked version of "Blue Jeans", to the raucous, punk-fueled cover of Tweet's "Oops, Oh My". Listening to the eclectic tracks on Softcore Jukebox, from My Bloody Valentine, to The Fall, to Cristina, to Lee Hazlewood, the prospect of what Ladytron's third full-length would sound like was encouraging, and after the long wait, their much-anticipated follow-up delivers on the promise.

While both 604 and Light and Magic toyed with the idea of pop music, tentatively dipping into catchy melodies and arrangements, the hip posturing making the music sound more chilly than engaging, Witching Hour, on the other hand, is surprisngly accessible. Any thought of Ladytron being nothing more than poster children for a musical trend that has since faded away has been tossed out the window. Produced by Jim Abbiss, who has worked with Placebo and Kasabian in the past, the sound is much more dense than the stripped-down Light and Magic, and although the new songs combine dark themes with the band's familiar glacial feel, you begin to sense a heart beating underneath all the layers of ice.

The key track on the album is its first single, "Sugar". Fans are already familiar with the song, as it was featured prominently on the excellent, sadly overlooked soundtrack to the documentary film Thinking XXX from a year ago, and it's presented in cleaner, beefed-up form on Witching Hour. The most outwardly rock-oriented song the band has ever done, "Sugar" mines both '60s garage rock and early '90s shoegazer, the insistent drums and tambourine beat underscored by waves of feedback and drones, as Marnie's teasing, layered lead vocals draw strongly from the great 90s dreampoppers Lush. Coy, menacing, and carnal at the same time, it oozes personality, a huge departure from the band's previous, rather staid singles.

Much of the credit of the album's success goes to Marnie, who puts in a very strong lead vocal performance on ten of the 13 tracks, sounding more confident and emotional than ever before. The upcoming second single, "Destroy Everything You Touch", is just as notable a departure as "Sugar", but it heads in a different direction, driven by strong, house-style beats and accented by grandiose, cascading synths, Marnie cooing lyrics that sound as much a political commentary as a song about a jilted lover. Marnie's sweet vocal melodies on "International Dateline" mask feelings of impending doom ("Woke up in the evening/ To the sound of the screaming/ Through the walls that were bleeding/ All over me"), while the dreamy "All the Way" closes the album on a lovely, plaintive note. The tender "Beauty #2" smacks of Depeche Mode, it's sparse arrangement adding weight to Marnie's emotional vocal delivery, before shifting into a gorgeous, dance-fueled breakdown midway through.

While Witching Hour has the band sounding more adventurous, there's a consistency to the tracks that holds it all together. "High Rise" is an even more direct nod to My Bloody Valentine and The Jesus and Mary Chain than "Sugar", "White Light Generator" is simple, lush (by name and by nature) dreampop, and "Weekend" boasts a terrific, motorik style rhythm, another example of the band's Krautrock fascination. Aroyo does sing on two songs, her usually harsh voice toned down a touch on "amTV" (arguably the album's weakest track) and on the disc's harshest track, "Fighting in Built Up Areas", but in all honesty, it's Marnie's album, and her much more engaging vocal style is what makes this a potentially mainstream-friendly piece of work. The artful blend of darkness and warmth ultimately proves to be the record's best asset; it's a delicate balance, but Ladytron gets it just right.""
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x900dc444) étoiles sur 5 WARLOCK MINUTE (an honest review from a new fan...) 20 avril 2006
Par H. Detter - Publié sur Amazon.com
Format: CD
I walked into my local music store to browse for some new music. Out of the over head speakers come what I would later learned to be a song called "Sugar". That driving bass sound, pounding drums, fuzzy yet melodic keyboards and those mesmerizingly understated female vocals caused my ears to perk, my head to bounce and foot to tap. At that point I had never heard of Ladytron but that one 2 minute 50 second song had me hooked. I walked out the store without purchasing the CD but the melody of that song was so strong that it forced me to go to my local electronics store to make the purchase. Am I sorry that I parted ways with the cash?

I bought this CD well over 4 weeks ago and it's been played, in its entirety, at least once per week. My four favorite songs are still played daily. In "High Rise", I'm drawn to (at least what I consider to be) the unusual pairing of background vocals accenting the lead vocals while not repeating the lyrics as well as those driving drums. "Destroy Everything You Touch" also has an unusual pairing of a catchy melody with words that speak of observing a rather negative individual and danceable music. The pull that "Sugar" has on me has already been established. Initially, it was the music that I liked but now, I find the lyrics of "Weekend" to be fascinating. Who would thought that great music and fascinating lyrics would make for a great song?

I'm anxious to hear if their other releases have the same quality of the music on "Witching Hour". I must say this has the potential to be a beautiful "electronica band/new electronica music fan" relationship.
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