Ladytron / Kling Klang

Solemn, po-faced and almost devoid of social skills, the hapless but undeniably talented Liverpudlian electronic group take to the stage amidst a torrent of indifference. No, it's not Ladytron themselves, but support act Kling Klang who, had they had a shave and added some vocals to their work, might have been confused for tonight's headliners after a few beers.

Unfortunately, whereas Ladytron's quiet nature and humble demeanour is charming and endearing to fans and newcomers alike, Kling Klang's moody, Generation X-inspired delivery becomes tedious by the end of a set which is admittedly excellent from a musical point of view. In fact, were it not for the intricately layered, surprisingly grunge-oriented ambience of their music, the Scouse newcomers would have fallen ridiculously flat. As it is, they don't do too badly for themselves at all, and are eventually well-received by an excitable London crowd.

Ladytron on the other hand are treated like the cult heroes they have deservedly become over the past few years, and their status as one of dance music's most unique offspring is surely reflected in the impressive diversity to be found in their audience – a curious mixture of ravers, goths, rockers and indie kids. Interestingly though, the majority of the crowd is effectively muted by the band’s audacious decision to begin with three cuts from upcoming release 'Velocifero', and although the songs themselves are as strong as anything they have done before – particularly the punchy, eighties-inspired 'Runaway' – they receive a slightly lukewarm reaction.

Evidently there are some people who didn't bother to check the band's Myspace recently, which has been streaming 'Velocifero' in its entirety for weeks, but it is no matter as things finally kick into fourth gear with 'High Rise', taken from what is arguably Ladytron's breakthrough album in 2005's 'Witching Hour'. From then on in there is an understandable mix of songs both old and new, but it seems that being cushioned in between classics such as 'Blue Jeans' and 'Soft Power' allows fresher tracks to be more readily accepted, and soon the atmosphere inside the Astoria is bubbling towards a heady climax.

That is, unbelievably, before the band announces that it has to leave the stage due to sound difficulties. A huge groan rises up from the mob of previously dancing gig goers, and their thoughts are understandable; this eGigs reviewer attended an Infected Mushroom gig that was plagued by sound problems barely ten days ago, and it can be immensely frustrating for both band and fans when such gremlins threaten to ruin a great night. Sadly, the evening really does come to a grinding halt there, as the sound board seems to have gone beyond the realms of repair. A rescheduled date is promised with all original tickets remaining valid, but that cannot halt an inescapable sense of disappointment that is being felt from the stage downwards. Bugger!

FUTURE GIGS

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