Klaxons- Myths of the near future

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I review this album a number of months after its release, so like a big brother contestant entering the a few weeks after the start of the show (complete with media coverage of public opinion) it is only right i consider the aftermath of this album. A recent visit to Topman (i need to dress better she says!) nearly made me develop a condition involving seizures brought about by flourescent coulours- such is the impact 'Nu-Rave' has had on high street fashion. Within that cavalcade of nu-glo sloganista fashion and arty abandon lies Klaxons. The Stone Roses inspired the desire for indie bands to make kids dance, so there is a history to this type of thing that Klaxons are attempting. Klaxons are the a band who seem keen to weld the two main youth movements during the 90's, rave and indie and give them a modern setting. Paul Morley, a man whose words carry weight in this neck of the woods has got it totally wrong when he describes Klaxons as 'kids playing rave music with guitars'. Indeed opening track 'two receivers' sounds like a good attempt at Bloc Party with a bit of Mansun's operatic guile. Of course, 'Atlantis to Interzone' is 'rave rock' to a tee, the sound of of indie kids interpretting rave- albeit sounding more like 80's matchbox b-line disaster than the KLF. The album production of the song is stodgy compared to the earlier single version. The track is good, but once the soundclash intensity fades away you hope that its not the album's peak. Klaxons real appeal and candle to long term success is the gourgous 'Golden Skans'- which again sounds like Mansun, all piano loops and spacious production. Although the track 'Totem' has a certain energy, it reminds you why early contemporaries such as Test Icicles were flash in the pan bands that will only last as long as 'Nu Rave' as a concept. A frankly dissapointing middle to the album is save by 'Gravity's Rainbow'- a really great song but one which makes me really begin to see how the dual vocals begin to grate. There is really no need to have the falsetto vocals on every single song!. 'Magick' is a real intense dark and robotic stabe at a punk song with a lovely refrain and nagging keyboard riff. The track points to how the band can continue with the quicker songs if they are willing to incorporate more of a nuanced melodic backdrop into them. 'Its not over yet' is a cool cover thats great strength is in its fragility. 'Four horsemen' is a slab of noise that really wasnt necessary.

Will Klaxons outlive the garish fashion is provided the soundtrack to? I hope so. This album must be improved on next time, but hope springs eternal in the world of Klaxons.

7/10

Klaxons- Magick