Klaxons - Myths of the Near Future

Of all the music genres out there, I would never have picked myself as a fan of “indie rave”, a term coined by Angular Records founder Joe Daniel, who released the first single by the loud-hailered sounding Klaxons. Variously described as "acid-rave sci-fi punk-funk" to psychedelic pop, Klaxons look to update the rave sound of the 90’s in a modern setting, capturing a whole new audience along the way. What with all that acid house and keyboard-powered schlock hokum, it all seems too much for a man of my tender years. Then again, I hadn’t figured with the “Myths of the Near Future” album. Klaxons are a three-piece made up of Jamie Reynolds (vocals), James Righton (keyboards/vocals), and Simon Taylor (guitar/vocals) with Steffan Halperin (drums/backing vocals) featuring from time to time after appearing on the track "Atlantis To Interzone". Hailing from Stratford-Upon-Avon and Bournemouth, the band counts influences as diverse as KLF (remember them?) to Solaris (apt with “Sunshine” out at the movies just now). The band's debut album “Myths of the Near Future” was released in January this year, entering the charts at number 2, following the release of the single "Golden Skans" (which peaked at number 7 in the singles charts) in the same month. Klaxons headlined the NME indie rave tour starting in February 2007 selling out at the Hammersmith Palais in two days. With early success in Europe, Japan and Australia as well as a burgeoning UK following, the future looks stellar bright for the band.

“Myths of the Near Future” has some very high points. As you’d expect, the opening track is strong. “Two Receivers” is a brooding production, almost down-beat compared to what’s to come. With an echo-induced drum beat and tinkling piano to usher in what will become trademark haunting lyrics, “Two Receivers” takes the listener into a traditional chorus driven track with the poetic chant “And in space / two receivers turn away, Just in case / two receivers turn away, To displace / two receivers turn away, And in space…” It’s a melodic dance anthem that gives the album a great start. For me, the album doesn’t get any better than the DJ cry of the second track followed by the fabulous “Golden Skans”. “Atlantis to Interzone” is one mega-dance track. Replete with subliminal reference to American novelist and opiate addict - William Burroughs - “Atlantis to Interzone” is another alternate reality trip into a world of magic and borderline supernatural. It’s a screaming, imploring song that changes pace as quickly as it picks up a new guitar/bass riff to rip the crowd along with the sound of an anthem. “From Atlantis to Interzone/You start at the end and you end on your own/From Atlantis to Interzone/You start at the edge and you end on the throne.” For me, this is the best track on the album.

“Golden Skans” is probably the band’s best known song. With a easy-on-the-ear sound, “Golden Skans” has a characteristically catchy chorus surrounded by a wall of ooooo and ahhhhh as well as being atypically economical with its lyrical content. It also carries a very artistic video that comes with it. “Golden Skans” gives way to the relentless electro-punk of “Totem On The Timeline”. Filled with lateral tangents and oblique references, the songs don’t add up to anything too deep on the lyrical timeline and there’s no obvious social commentary going on other than a psychedelic journey into its own sound. With its fourth single (in no particular order and not accounting for the re-release of “Gravity’s Rainbow” this year) “Magick” is referential to the British occultist Alistair Crowley with the chorus “Magick without tears” being derived from the title of one of Crowley’s books. "Gravity’s Rainbow” is the other single release on the album. With a funky, bass guitar intro and a chirpy chorus line, “Gravity’s Rainbow" is a falsetto trek into infinity or at least according to the song meisters' lyrics together with your future love.

The album is by no means perfect. “Isle of Her” is reminiscent of an early Spandau Ballet before they’d struck a populist chord with “Chant No.1”, with a somewhat repetitive soft centre at its heart while “Forgotten Works” quickly disappears from the memory despite its self-effacing but convivial opening. Fortunately, the album pulls back with two belting tracks to finish with a crescendo. “It’s Not Over Yet” is a synthesized, electro anthem that fades into the album finale “Four Horsemen of 2012”. Finishing with a muffled, heavy rock sound, “Myths of the Near Future” closes with a relentless energy that takes the album to the other side of the dance floor in a discordant, dance tune guaranteed to confuse and delight all at the same time. The band won the Best New Band award at the 2007 NME Awards and looks set for major stardom. This is an impressive first album although many have also managed great debuts without being able to follow it through. I hope Klaxons do. Their sound is a welcome departure to everything else that dominates the popular music scene at the moment. “Myths of the Near Future” will appeal to fans of indie pop/rave/acid house kinda music and doesn’t venture too far from classical radio pop. It’s a sound that will appeal to the younger generation and maybe call to a few of us who want to remember what was good about the best of the 90's rave scene.