It's not the Klaxons' fault. The London-based trio, who are riding a blinding wave of hysteria and hype, have been dubbed the forefathers of a brand-new, and thus, important, genre: new rave. Get it? It's like new wave, but with candy necklaces and Vicks Vapor Rub surgical masks. So, if this deplorable new genre is not the Klaxons' fault, then who is to blame? Well, let's do the math: They're cute, shaggy-haired British boys playing some evolved form of Brit-pop with a fair amount of Franz Ferdinand flair, and get this—keyboards! The obvious culprit? Famed British music rag, NME.
Not only is NME a bit keen on the Klaxons, they all but mount the band with their aggressive thrusts of derivative-riddled, fawning press. For instance, "[The Klaxons] change the course of a generation" and their record is "one of the most dynamic, intense, and totally lunatic pop records of the early 21st century." Well, it's nice to see that the publication took a break from their usual round-the-clock Pete Doherty coverage to prop up the Klaxons as the next biggest band, ever. While the "new rave" tag was originally coined by Angular Records (they released the band's first single), NME used the god-awful description enough times to forcefully add a level of credibility to it, and after that, they just sat back and fanned the flames. The magazine had the band headline their "NME Indie Rave Tour," in addition to commonly dropping nuggets of hyperbole like, "Fuck genres, fuck trends, fuck history, this band is only concerned with reshaping guitar music... forever."
All of this would be easily dismissed if the Klaxons' debut, Myths of the Near Future, wasn't such a strong record. It's far from groundbreaking, but the album exudes a playful early-20s innocence and an infectious continual rhythm section that is ripe for dancing. You can make up your mind about the Klaxons when they pass through town, just make sure you bring your own glow sticks. New Rave Forever!