Over more than two decades and eight albums, Ladytron have perfected their formula. Paradises is their most dance-oriented record in over twenty years, and it’s also the fullest and most joyful expression of everything they’ve always done best. The album is a triumph, and it’s a joy to have them back.

At seventy one minutes and sixteen tracks, this is an ambitious and expansive record that doesn’t drag for a single moment, because when Ladytron set a groove you want it to keep going. The music soothes you and carries you, and the length doesn’t feel indulgent because this is the best nu-disco album in a very long time. Several tracks seem to quote directly from A Guy Called Gerald’s Voodoo Ray, and what’s always made Ladytron fascinating is the tension between the retro and the futuristic. The core of their synth work is pretty old at this point, close to the new wave electronic pop of the eighties, and yet it feels modern and forward-looking. Despite the sleek perfection and robotic qualities, Paradises doesn’t feel cold and instead feels warm, empowering and emotional. The album opens with I Believe In You with an uplifting message that’s a wonderful way to begin. In Blood is slower and more spacious, and Kingdom Undersea brings huge pianos. Secret Dreams of Thieves is faster and more velvety, and Sing is a stunning piece of dance pop. Caught in the Blink of an Eye has real heart, and the penultimate track Solid Light leans into gospel territory with a church organ. For a Life in London closes the album in the spirit of Andrew Weatherall and Primal Scream’s Loaded with elements introduced and faded out as the groove carries everything home. The message throughout Paradises is empowering, warm and inclusive, feeling like a safe space of celebration. Ladytron are playing to every one of their strengths here, and long may they continue.