Is “New Rave†the new “Emoâ€? Judging by the music press furor and the “Is it or isn’t it?†question surrounding the release of the first long player from South London three piece Klaxons, the tag seems like a glow-stick yoke wrapped around their hoodie clad necks. Forget the genre histrionics, for after all it’s just music, and the record buying public are drawn by the quality of the product, leaving the hacks to mull over the relative values of the “movementâ€, and at least creating something for them to write about in those moments when news of Pop is light. For Simon Taylor, Jamie Reynolds and James Righton the flashbacks to muddy fields, chemical excess and blinding laser shows will be a romantic fable, told in a foggy haze from those who were there (they think). Klaxons are just three hyperactive kids, generating some electro pop with an energy and imagination that is a welcome excursion from the relentless stream of British post Libertines sounding bands that have dominated Indie music for the past 5 years.Processed rhythms shudder through the up-tempo numbers with a feverish tirade demanding attention, particularly on the startling opener “Two Receiversâ€, which features a haunting piano riff that could have come from a soundtrack to a slash/horror flick. The galloping grandeur of “Atlantis To Interzone†is possibly the sole relative to rave, and particularly reminds one of Leftfield or The Prodigy at their zenith, with blood pumping bass rhythms and screeching synth blasts. “Golden Skans†is a genuine Pop record, with a distinct falsetto melody, proving that the band can effortlessly write the hooks when required. “Totem On The Timeline†has all the urgent insistence of Bloc Party’s “Helicopterâ€, all frenetic Indie energy and is genuinely invigorating for it. The bass Guitar domination on “Gravity’s Rainbow†suggests that the band have brought in The Stranglers mainstay Jean Jacques Burnel to guide proceedings with floorboard shaking results. “Magick†eerily continues the mania and good or bad, it’s unlikely you’ve heard anything like it for a number of years. There are a couple of blips in the slower “Forgotten Works†and the clumsy cover of Grace’s “Not Over†which actually suggests that the band may have run out of material, particularly when one considers that Klaxons have been together for a relatively short time.Don’t get hung up on trying to pigeonhole “Myths Of The Near Future†into some musically generic box. Leave that to the bewildered music magazines. Just appreciate the music for what it’s worth…fresh, slightly shambolic, full of vitality, bit most importantly it’s a change from the continuous line of tawdry Post punk bands that seem ten a penny, and Klaxons will rapidly threaten their long term shelf life.Far from being a rave surrogate, or feeble impersonation, Klaxons have created a musical identity on their own terms, and that’s by invigorating the listener with some great tunes. Simple as that.8/10
Fritzen says
OH YEAH!
This is a very very fine album! I don't understand this reverse trend about how you should NOT define this genre. Here in DK there's a lot of clever people telling us not to call it nu-rave or whatever. Who cares? It's great and you can dance to it. Now I have friends from the clubbing scene. I thought they only liked bad house.
Pyro says
It was a hot day of 2007..(Oo)
I went to the the disc shop i trust the most. I started my research on the 3d floor, where all the Rock/Alternative/Punk/Pop/Metal albums are waing for someone to be discoverd. I start talking with the guy that works there and usually introduces me to some good names. I told him about a review i recently had read, about a band named 'Klaxons'. He said -yes, i have only album left, and trust me, it's a masterpiece, let me show you-. He took the CD and put it into playing, so the whole floor can listen to it. I was like -ok, i will take it-.
When i arrived to my house, i litsened to the CD..i think it's one of the best things that took place in 2007..'The Good, The Bad & The Queen' and this particular album have made me to love music more.
Thank u Klaxons
Is “New Rave†the new “Emoâ€? Judging by the music press furor and the “Is it or isn’t it?†question surrounding the release of the first long player from South London three piece Klaxons, the tag seems like a glow-stick yoke wrapped around their hoodie clad necks. Forget the genre histrionics, for after all it’s just music, and the record buying public are drawn by the quality of the product, leaving the hacks to mull over the relative values of the “movementâ€, and at least creating something for them to write about in those moments when news of Pop is light. For Simon Taylor, Jamie Reynolds and James Righton the flashbacks to muddy fields, chemical excess and blinding laser shows will be a romantic fable, told in a foggy haze from those who were there (they think). Klaxons are just three hyperactive kids, generating some electro pop with an energy and imagination that is a welcome excursion from the relentless stream of British post Libertines sounding bands that have dominated Indie music for the past 5 years.Processed rhythms shudder through the up-tempo numbers with a feverish tirade demanding attention, particularly on the startling opener “Two Receiversâ€, which features a haunting piano riff that could have come from a soundtrack to a slash/horror flick. The galloping grandeur of “Atlantis To Interzone†is possibly the sole relative to rave, and particularly reminds one of Leftfield or The Prodigy at their zenith, with blood pumping bass rhythms and screeching synth blasts. “Golden Skans†is a genuine Pop record, with a distinct falsetto melody, proving that the band can effortlessly write the hooks when required. “Totem On The Timeline†has all the urgent insistence of Bloc Party’s “Helicopterâ€, all frenetic Indie energy and is genuinely invigorating for it. The bass Guitar domination on “Gravity’s Rainbow†suggests that the band have brought in The Stranglers mainstay Jean Jacques Burnel to guide proceedings with floorboard shaking results. “Magick†eerily continues the mania and good or bad, it’s unlikely you’ve heard anything like it for a number of years. There are a couple of blips in the slower “Forgotten Works†and the clumsy cover of Grace’s “Not Over†which actually suggests that the band may have run out of material, particularly when one considers that Klaxons have been together for a relatively short time.Don’t get hung up on trying to pigeonhole “Myths Of The Near Future†into some musically generic box. Leave that to the bewildered music magazines. Just appreciate the music for what it’s worth…fresh, slightly shambolic, full of vitality, bit most importantly it’s a change from the continuous line of tawdry Post punk bands that seem ten a penny, and Klaxons will rapidly threaten their long term shelf life.Far from being a rave surrogate, or feeble impersonation, Klaxons have created a musical identity on their own terms, and that’s by invigorating the listener with some great tunes. Simple as that.8/10
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