About X Ambassadors:
X Ambassadors are a multi-platinum trio formed by brothers Sam Nelson Harris (vocals, guitar, saxophone, bass) and Casey Harris (piano, keys) while the pair were in high school in Ithaca, New York. Later joined by Adam Levin (drums) upon moving to Brooklyn, the trio have gone on to dominate the alternative charts over the last decade.
Forming in 2009, the band exploded with the success of their debut album, VHS (2015). The platinum certified album provides an intimate look into the childhood of Sam and Casey, and features massive hit singles “Unsteady” and “Renegades,” which have over 1.3 billion streams on Spotify combined and led the band to a three-year world tour. VHS was followed by ORION (2019), the Belong EP (2020), a series of collaborative singles featuring artists such as BRELAND, Teddy Swims & Jac Ross, Medium Build and PAMÉ.
Outside of X Ambassadors, Sam Nelson Harris has had an eclectic career as a songwriter and producer for artists such as D4VD, 21 Savage, Rihanna, Lizzo, Travis Scott, The Weeknd, SZA and Maren Morris. He has also collaborated with artists including Eminem, Jay-Z, Jacob Banks, K.Flay, grandson, The Knocks, Kygo, Illenium and Machine Gun Kelly. Sam has played the world’s biggest music festivals, headlined countless nationwide and world tours, celebrated a #1 song at Alternative radio and multiple songs in the Top 10. He has recently begun releasing his own solo music for the first time under the name of Sam Nelson.
The band’s latest release, Townie came out on April 5th (2024) —an album that marks a compelling new chapter for the band as they return to their upstate New York roots. Across 12 deeply personal tracks, the group crafts an intricate portrait of their hometown’s most mundane aspects and the community that shaped them.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.
