The Klaxons
RINSE / POLYDOR 29.01.07

“ooo-oo-oo-oo-oo-ahhhh” We all know “Golden Skans” by now, so it was with the hope of an album full of that one particular track that I slipped on this CD…

With all the hype about The Klaxons representing ‘New-Rave’, it’s difficult to know where to begin with their music. The ‘new’ covers a form of Indie/Rock that seems to be a little normal at the moment, while the ‘Rave’ doesn’t seem ravey-enough to be rave. It’s just a little short of everything.

“Two Receivers” opens the album at a comparatively leisurely pace, sounding like a drum & bass Keane, before jumping feet first into the klaxons (yes, they had to get them in) of “Atlantis To Interzone”, which is growing on me. This may suit clubs well, but is too fast to just listen to, as with “Four Horsemen of 2012”.

Next comes “Golden Skans”, which seems to have been such a hit because it is the only track that totally combines the genres that it tries to mash together. Hot on its heels, “Totem On The Timeline” sounds like a remix of Franz Ferdinand, and I can’t decide whether this is a good idea. The chorus is catchy and mixes the characters of Julius Caesar, Lady Diana and Mother Theresa and puts them on an 18-30s holiday. Maybe that’s their pitch for a new reality TV show?

So just in the first four tracks you can see the variety we face. Each is different and yet the same. There’s always the same dance drumbeat and effects in the background, and the white noise bridges do begin to grate quite soon.

Despite trying to distance themselves from Indie so much, there are obvious comparisons to be made. “Gravity’s Rainbow”, for example, starts like Arctic Monkeys, as does the break on “Magick”, which is probably their second most charty song. And anyone who doesn’t get a whiff of Athlete when listening to “Isle Of Her” just isn’t listening.

Diagnosis: Inconclusive. I just can’t tell whether the album will become great or simply continue to annoy me. By all reports, these guys are worth seeing live, so maybe I’m being a little harsh?

Simon Middleyard