Klaxons ‘Myths Of The Near Future’ out Monday

Myths Of The Near FutureReleased January 29th on Rinse / Polydor.
Klaxons exploded onto the music scene this year in a dayglo burst of punk riffs, all out hedonism and classic British art school conceptual cheek. Now with their debut album Jamie Reynolds, Simon Taylor and James Righton look set to prove that theyre more than just a flash in the pan, a London media fad, an excuse to froth about new rave.

The lads from Bournemouth and Stratford-upon-Avon have come good with eleven tracks that rocket by in thirty-five minutes emanating more energy than nuclear fission. Along the way, they bite chunks out of multiple unlikely musical influences, spatter their lyrics with a whos who of cult literature, and end up with a music thats catchy, driven and unique. Its how debut albums should sound, a raw manifesto that will bemuse the oldsters and invigorate the fans, a window into new possibilities, a dynamic party where those who get it dance frantically and those who dont go back home to their Kooks CDs.

Myths Of The Near Future kicks off with Two Receivers which belies the amphetamine mania of Klaxons singles. There are hints of Brian Eno but these are overrun by falsetto vocals and the first of many lyrics that dive mystically into science fiction, ranging across the cosmos like a spiky unselfconscious précis of 2001: A Space Odyssey. Atlantis To Interzone, with its blaring intro of real klaxon alarms is the groups second single and a call-to-arms. If anything in their set fits the term new rave it is this howl-along number with its riveting vocal samples, but be aware there isnt a housey kick-drum in earshot. Golden Skans relieves the pressure and takes the BPMs down to a softer kind of throb. The backing vocals go for sweet classic pop harmonies swimming in a sauce of lost 1980s pop.

Totem On The Timeline – a few words from rocks most unlikely Timelords: At Club 18.30 on the Julius Caesar/Lady Diana or Mother Theresa – and thats just the start. With As Above So Below the ghost of space-rock is resurrected via Bowies experiments in 1970s Berlin. And if that isnt enough the lyrics seem to be a experiment in William Burroughs & Brion Gysins cut-up technique. Isle Of Her recalls the sinister folk songs in 1970s horror film classic The Wicker Man but riding on an insistent bassline reminiscent of prime-time Stranglers.

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Then its back to the familiar with a stomp through Gravitys Rainbow, Klaxons opening single, still sounding fresh and firin with its Come with me/Come with me/Well travel to infinity chorus. This neatly segues into third single Magick, with its references to the Order of the Golden Dawn, stop-start motifs, and pleading that we should Do what you will. Early 20th century occultist and druggy mountaineer Aleister Crowley gathers yet another rock classic to his tribute collection.

On Forgotten Works Klaxons push the boat out even further with vocals delivered like madrigals, or perhaps more like the Gregorian psychedelia of long lost 60s rockers The Electric Prunes. Anything further from the cheerful music hall stomp of most indie would be hard to imagine.

Saving their famed cover until near the end, Graces Its Not Over Yet is a ballistic synth-punk attack on the song, playing it as a modern anthem for pogoing dancefloor dervishes. Which simply leaves it to The Four Horsemen Of 2012 to finish things off, a galloping thrash that comes like Krautrock at its most kosmische.

Decipher it, dance to it, or just enjoy its formidable vigour, but one thing is certain; Klaxons have arrived and are going to be hard to ignore.

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