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3.9 out of 5 stars36
3.9 out of 5 stars
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on 10 March 2007
After only hearing a small handful of their songs, this buy was a bit of a risk! On first listen to be honest I wasn't too impressed, and skipped most of the songs. However, upon second listen (and without skipping any songs) I really liked it! The songs are all unique and although not catchy in an obvious way, I found myself singing along in no time and humming away for most of the day! This has to be one of my favourite albums at the moment, and despite listening to it most days- I still pick up on new things I missed the previous times. Whether you like crashing synths, smooth vocals, memorable melodies, or even dancing around whilst getting ready- then this album is sure to be a winner with you!
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on 21 January 2007
the album is great! magick is a top single, and golden skans will be too. atlantis to interzone, gravity's rainbow, 4 horsemen of 2012 and it's not over yet are also great songs on the album.

i strongly urge people to by their xan valleys EP as well. there are 2 quality remixes on it, and another song from the klaxons, called The Bouncer.

these boys deserve to be huge.
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on 6 September 2007
Well this album has it's moments - it sounds like the Klaxons made an effort to create something truely original. But seriously Gravity's Rainbow just sounds like something from the rave vaults of 1991. Also the references to Crowley, Burroughs and the illuminati eye artwork are a cheap shot lots of rock acts have done that over the last 40 years - not very original boys - but Thomas Pyncheon fair play nine out of ten. A couple of good tracks here but no classic songs for me I'm afraid. I'm very glad this record exists - I'm glad this band won the Mercury
Prize too! The Klaxons sound fresh it is ecclectic but a classic album that people will listen to over and over again I don't think so sorry guys!
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on 30 January 2007
Maybe like you...I wasn't sure whether to buy this. I was thinking I was too old to like The Klaxons!. Fortunately I was wrong and whether the band like it or not, there is plenty for adults to enjoy as well as the glo-stick waving teens. In fact, the whole New-Rave/Indie Rave angle is a complete red herring. They do draw from 90s Rave music as reference points, and very effective it is too. But theres a lot more to them than some novelty act...they are not an EMF for the 21st century thats for sure!

Theres all kinds of influences in here. I hear echoes of New Order, Pink Floyd, Gary Numan (!), Bowie, even NYC Art-rockers TV On the Radio.

Above all, its a great Indie-pop record. Stick with it because it gets off to a rather slow start with 'Two Receivers' one of the weaker tracks here, and the ravey sirens on 'Atlantis...' are a bit daft but once you're a few tracks in you realise its quite a varied and multi-layered beast. The lyrics aren't yer standard boy meets girl fare either...."Galloping Galloping Beams."..."Cyclops gazing alone...face to face" and all. Sometimes it all gets a bit 'Stone 'enge' or but I think they're in on the joke.

Too good to be just for the under 21s and I hope the music gets heard above the rather misleading press.
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on 13 September 2007
I was not sure about this album at first, I listened too it on a long boring drive home one night and realised I had not skipped a track which i realised had to be a good sign! I was still undecided when I reached home and decided to keep it in the CD player. This album is a grower; the more you listen to it the better it gets. It is quite 80's and that little bit different not the ususal Kooks / The View drivel. It has got some substance and is not the usual indie jangly guitar crap that there seems to be so much of at the moment. Not sure it quite deserves 5 stars but its a very good 4 stars.
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on 30 January 2007
This album is totally amazing.

Hyped up to hell, a band that will be huge with the commercial fan base, not always the best thing, but I don't mind as long as they make great music. Klaxons have fabricated an original creative bible of modern music.

I entered 2007 with the hope that music will be so much better than 2006's dire offerings, and this album sincerely has backed up my hopes.

Stand out tunes are obviously Golden Skans, quite possibly the best track, which deservedly became the first single.

Stand out tracks though, Atlantis, Gravity's Rainbow and the quite under-rated Forgotten Words in my opinion.

However, an amazing album with not one track of filler.

Well done boys.
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VINE VOICEon 2 February 2009
I finally decided to take a punt on this, mainly on the basis of the Golden Skans single which is OK and also because the price had dropped to a reasonable level.

Have to say I was pretty disappointed. It is all pretty ordinary. Nothing really stands out in this melange of sound. It certainly is loud but there is generally a lack of discernible melody (Golden Skans being a notable exception). Now I can take this a lot of the time (Mars Volta anyone?) but when the work also appears devoid of any particular inspiration or originality as well then it is time to give up.

I am absolutely gobsmacked that this managed to take the Mercury prize in 2007. There were a number of better albums. In particular the fusion of jazz style with 60's girl group influence employed by Amy Winehouse should have beat this lot out of the park. Not to mention, Jamie T, Bat for Lashes, Arctic Monkeys and Young Knives (OK, to be pedantic I just did mention them). If you are looking to spend a few quid any of these is a better bet.

The Klaxons are also guilty of one of my pet hates; the final track with a big long silence and then the so-called bonus track at the end. This is particularly annoying. I presume it is some form of anti-piracy measure but really, why should we all suffer because of a few rip-off merchants? This track is 19 minutes long. You get about three minutes at the start, then 15 minutes of silence, followed by a very mediocre "hidden" track. I know you can edit this on your Ipod, but I understand that it still uses up 19 minutes worth of memory, so I will delete.
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on 9 February 2007
I think the best thing to do is ignore the so-called `new rave' controversy and give a track by track review.

1. Two Receivers - This is a startlingly atmospheric opener, which builds up tremendously. A much slower number than most of the tracks on here, but retains an epic feel to it. A great start to the album.

2. Atlantis To Interzone - You've heard it and, therefore, surely loved it. Fast, irresistibly danceable and utterly insane. It probably is my favourite track on the album. It's about time somebody put the keyboard's `DJ!' button to use in a song! Awesome, in a word.

3. Golden Skans - A pure pop chart hit, which contrasts with much of the album, yet still retains the trademark Klaxons sound. A combination of a catchy chorus and gorgeously polished production make it a winner. The background vocals are actually, for lack of a better term, beautiful.

4. Totem On The Timeline - I was appalled to see one review call this `filler.' This is another track to have you on your feet, and is also catchy enough for you to know every word after two listens. This has a much more typical indie sound to it than most of the tracks, as it is all about guitars rather than distortion and sound effects.

5. As Above, So Below - This sounds excellent on the record. Yet another easily accessible chorus. It is difficult to compare this to anyone else. The track has a very unique sound. A surprise highlight for me.

6. Isle Of Her - The band's attempts at a massive sing-along anthem work wonders here. There is a lot going on in this one, but it remains organised rather than disjointed. Not really danceable, but the catchiness continues. Notice a trend?

7. Gravity's Rainbow - Another track you must know, and it hasn't suffered as a result of being re-recorded. This is more traditional indie once again, and is fairly short, but very sweet. I challenge anyone to be able to get the hook of `Come with me, come with me/We'll travel to infinity' out of their head. It simply sounds like a huge hit.

8. Forgotten Works - Probably the weakest track, though it is OK. The bass line on this is delicious, but there isn't much else happening on this track. The hook is pretty simple, as are the verses, and less isn't more in this case. Worth a listen, but not one of my personal favourites.

9. Magick - This one took an age to grow on me, but it did. The background vocals are great on here, as on Golden Skans. Few other similarities can be found between the tracks. When you contrast the two singles, this is a raw, moody and dark tune completely removed from Golden Skans' pop appeal. Magick is sinister and menacing, but it works nevertheless.

10. It's Not Over Yet - A cover of the rave classic. I remember little about the original, but this isn't bad by any means. It's not one of the strongest on here, but is danceable and provides yet another sing-along chorus. A solid cover.

11. Four Horsemen Of 2012 - Wow. This is brilliant. To the casual listener this is surely the least accessible track, and is closely followed by Magick as the most dark, disturbing track on here. Dual vocals are utilised with an anxious squeal running in juxtaposition with worrying, almost inaudible murmurs throughout. The drumming here is fantastically frantic, giving the track an apocalyptic sound. A perfect way to end an album really; with an absolutely explosive climax. The instrumental 15 minutes after this song is not really worth waiting for, as it is merely a bunch of sound effects thrown together.

All in all, I think it is safe to believe the hype. This is an album of the year contender already. Clocking in at only 35 minutes approximately, excluding the hidden `track,' this is a quick, catchy listen from one of the country's most exciting new bands. They're not `new rave,' even they have admitted that, but they are a unique brand of indie waiting to take over. I would recommend this to anyone, and I am actually shocked when people don't like this. It's brilliant.
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on 31 October 2012
Should music have a point? I once had a protracted discussion on this topic with a stranger in a public house, a fired debate abetted by the alcoholic vendibles supplied by the locale in question. Conclusively, my opponent was of the immutable opinion that music, like all forms of art, should have a point, even a moral of some sort. He would definitely not have approved of Klaxons.
With their surreal, hyperactive, stomping, raving and totally enrapturing update of punk rock one has to wonder, after all the sweat has been shed and the jaws ache from over-smiling, what it is all about? Or does one? Can't I just let their ingenuity, their psychedelic naughtiness and their sheer mindnumbing audacity tickle my nerves and ignore the fact that Klaxons are basically nonsense (a clue to that being their name)?
This review has a subjective slant, but I am not a professional music journalist. I have not seen Klaxons perform, I don't even live in the same country as them. But I am well versed in the British music scene, and the (to me) rich and noble cultural history of those Albion shores. What Klaxons do can be traced back through punk, through Monty Python, all the way back to Guy Fawkes. I am refering of course to anarchy. A relentless refusal to adhere to the normal, to the popular, to the relatable, but without being "indie." Because in my opinion, Klaxons most assuredly are nowhere near "indie." The term "new rave" has been energetically used in describing them, but what is that? Just another label. Klaxons are simply Klaxons, and as such one of the most original bands I know of.
Klaxons' debut album "Myths of the Near Future" from 2007 sounds like movies, art, insanity, pubescent sex, laser tag and Pop Rocks. There's a little bit of sci-fi in there, with a healthy portion of Dadaism. And what's so wrong with nonsense anyways? Look at Lewis Carroll, Jonathan Swift, Andy Warhol. The album title was coined by JG Ballard, one of the most imaginative writers ever to have populated American literature. It kicks off with "Two Receivers," "Atlantis to Interzone" and "Golden Skans," a melodic and dynamic triptych that make me envision glowsticks, strippers dressed as characters from "A Clockwork Orange," SNES-tournaments and nightclubbin' in a parallel universe.
The fourth track, "Totem on the Timeline," repeats the following verse: "At club 18-30 I met Julius Caesar, Lady Diana and Mother Theresa." In "As Above, So Below," the cosmos dances. "Isle of Her" veers off into mythological territory. "Gravity's Rainbow" is named after a novel by the experimental author Thomas Pynchon, an interesting insight into the personal flavours of the band. "Magick" has a riveting, pumping riff and mixes various speeds and styles.
Klaxons know better than to try and placate their listeners with traditional moments of relaxation and balladry. The album is short, but all the more ravishing for it.
The lights from the UFO can finally be descried in the Grace cover "It's Not Over Yet," and when the fuzzy guitar and coughing
introduces "Four Horsemen of 2012," the UFO finally lands.
Oh yes, I want to live on Planet Klaxons!
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on 11 March 2008
This band reminded me the old British funk band "Shriekback" on 80's, playing fast accurate and having very interesting vocals (harmonic matching lead and back).
"Two receivers", "Atlantis to Interzone", "Golden Skans", "Totem on the Timeline" synthesis is a strong entry. Also, "It's Not Over Yet", "Magick" and "Gravity's Rainbow" are very good.
I paid attention to the full worked bass in all over the album - very good performance here -.
Certainly promising band. After this start I wonder how could be their next one. I'm looking forward to.
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