It starts with that synth. A buzzy, vibrating low-end growl that felt like it was ripping through the fabric of 2009. When Elly Jackson, better known as the face of La Roux, released the In For The Kill song, the musical landscape was in a weird spot. We were transitioning from the guitar-heavy indie rock of the mid-2000s into something colder, sleeker, and much more synthetic. This wasn't just a radio hit; it was a total cultural shift.
Honestly, it’s hard to overstate how ubiquitous this track was. You couldn't walk into a H&M or a dive bar in East London without hearing that soaring falsetto. It was everywhere. But what actually made it work? Was it the 80s nostalgia, or was it the fact that it sounded like nothing else on the BBC Radio 1 playlist at the time?
The Scifi-Pop Sound of La Roux
Ben Langmaid and Elly Jackson were an unlikely duo. Langmaid was the seasoned producer behind the scenes, while Jackson was the androgynous, ginger-quiffed iconoclast who looked like she’d stepped off the set of a David Bowie film. They were obsessed with the 1980s—think Yazoo, The Human League, and Depeche Mode.
The In For The Kill song isn't complicated. That’s its secret. It’s built on a minimalist skeleton. You have the kick drum, the snare, and that relentless, oscillating synth line. Most pop songs today are layered with fifty different tracks of vocal harmonies and sound effects. La Roux did the opposite. They stripped it back.
Jackson’s vocals are high. Extremely high. She hits those notes with a piercing clarity that felt almost confrontational. When she sings about "going in for the kill," she isn't talking about violence. It’s about emotional risk. It’s that terrifying moment when you decide to tell someone how you feel, knowing full well you might get your heart stepped on. It’s a song about vulnerability disguised as a synth-pop anthem.
Why the Skream Remix Changed Everything
You can’t talk about this track without talking about the dubstep remix. If the original version was a neon-lit pop dream, the Skream remix was the dark, vibrating basement afterparty.
At the time, dubstep was still relatively underground. It hadn't yet become the "wub-wub" caricature it eventually turned into in the US. Skream (Oliver Jones) took Jackson’s vocals, slowed them down to a haunting crawl, and added a sub-bass so heavy it could rattle your teeth loose.
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- This remix actually charted.
- It introduced a massive mainstream audience to South London’s bass culture.
- It proved that pop and underground electronic music could coexist without losing their soul.
Suddenly, In For The Kill was being played by teenage girls in their bedrooms and by sweaty ravers at Fabric. It bridged a gap that usually stays firmly shut. Kanye West even took notice, eventually hopping on a remix of another La Roux track, "Quicksand." The influence was moving upward and outward at an incredible speed.
The Production Secrets Behind the Synth
Most people assume the song was made with high-end digital plugins. It wasn't. Ben Langmaid was a gear nerd. They used actual vintage hardware to get that specific, gritty texture.
The main hook? That’s a Roland System-100. It’s a semi-modular synth from the late 70s. It’s temperamental. It’s noisy. It has a warmth that you just can’t replicate with a laptop and a MIDI controller.
They also leaned heavily on the Elka Synthex. If you’ve ever wondered why the song feels so "big" despite having so few instruments, that’s why. These machines have a physical presence. They breathe. Jackson has mentioned in interviews that they wanted the record to sound "manual." They wanted the listener to feel the electricity running through the wires.
The Lyrics: More Than Just a Hook
"Ooh, let's go in for the kill."
It’s a bold opening line. It’s aggressive. But the verses tell a different story. They talk about being "bound by the shackles of love" and the "darkness of the night." It’s actually quite gothic if you stop dancing long enough to listen to the words.
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There's a specific kind of English coolness to the delivery. Jackson doesn't oversell it. She doesn't use the melisma or vocal runs you’d hear from an American R&B singer. It’s precise. It’s clinical. And that contrast—the cold delivery of very warm, desperate emotions—is exactly why the In For The Kill song has aged so well. It doesn't try too hard to be liked.
The Legacy: Why It Still Matters in 2026
We’re seeing a massive resurgence in synth-pop right now. Artists like The Weeknd and Dua Lipa have built entire eras around the sounds that La Roux was championing over fifteen years ago.
But La Roux felt different because it wasn't a "tribute" to the 80s. It felt like a continuation of it. It didn't have that polished, "Instagram filter" version of nostalgia. It was sharp, jagged, and a little bit uncomfortable.
The In For The Kill song also challenged gender norms in a way that felt effortless. Elly Jackson’s image was a huge part of the appeal. She wasn't playing the "pop starlet" role. She wore suits. Her hair was architectural. In an era where female pop stars were often pressured into a very specific, sexualized aesthetic, she was just... cool. She let the music do the heavy lifting.
The Breakdown of the Charts
When it was released in March 2009, it debuted at number 11. Most songs peak and then drop off. Not this one.
- It climbed to number 4.
- Then it hit number 2.
- It stayed in the UK Top 40 for literally months.
It was eventually certified Double Platinum. But more than the sales, it was the "cool factor." It was the song that made it okay for indie kids to like pop music again. It broke down the barriers between "high art" and "radio filler."
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Actionable Takeaways for Music Fans
If you're looking to dive deeper into this sound or understand why this specific track works, here is how you should approach it.
Listen to the stems. If you can find the isolated vocal and synth tracks online, do it. You'll realize how little "fluff" is in the production. It’s a masterclass in "less is more." If you’re a bedroom producer, pay attention to the space between the notes. You don't need a hundred layers to make a hit; you need three perfect ones.
Check out the influences. Don't just listen to La Roux. Go back to the source. Listen to Upstairs at Eric's by Yazoo. Listen to the early Eurythmics records. You’ll start to hear where that DNA comes from. You’ll see how Jackson and Langmaid took those 80s blueprints and modernized them for a post-rave generation.
Watch the Brit Awards performance. 2010. It’s Elly Jackson on stage with a keytar. It’s peak 2010s energy, but it shows the sheer confidence of the act. They knew they had changed the game.
The In For The Kill song isn't just a nostalgia trip. It’s a reminder that pop music is at its best when it’s a little bit weird, a little bit cold, and completely fearless. It’s about taking that leap, regardless of the consequences. That’s a feeling that never goes out of style.