Surfing The Void
Remember when some blokes from London who called themselves the Klaxons helped launch a made up genre called “new rave” where hipsters got drunk and waved glow sticks around while dancing to such classics as “Gravity’s Rainbow” and “Golden Skans”? The entire album was eventually remixed and played on dance floors everywhere inspiring a change of uniform from black to neon. The folklore has always been there – the taking of shaman drugs and trips into the beyond – but the vibrant chimes took the edge off. Myths of the Near Future soundtracked a phase that we may not have completely grown out of…
Now three years and three rejected producers later the Klaxons bring you their second studio album – Surfing The Void. Rumor has it the band made an album that the studio rejected; presumably demanding something more marketable, less experimental. The end product was recorded in Venice, California and produced by the Godfather of nu metal himself – Ross Robinson. Compared to the Mercury Prize winning debut – Surfing The Void unfortunately isn’t a break-through or even a repeat of the past success. The first track and single “Echo” makes promises that the rest of the album never lives up to.
Klaxons’ bassist and vocalist Jamie Reynolds cited shamanism and the year 2012 as album inspirations NME. But as the title suggests – there isn’t much there. Some tracks sound like walls of sound but often times clashing together to a degree of annoyance. With lyrics like “I see the dream within the dream,” (Inception much) it feels like a lot of talking and no substance. Understandably it’s music – it doesn’t have to have a message if it rocks…but it doesn’t. Much of the tracks feel like a love letter to the future and the future within, outer space or the space within and the space that is created when we all unite and jam. But it’s misunderstood and oftentimes ugly…or worse boring. After “Echos”, the second best track is “Venusia” which is actually quite beautiful and melodic. But most songs bleed together and remain forgettable.
The music doesn’t move you like a hallucinogenic drug trip anymore than an iPod commercial. Let’s hope they have a better record come out by 2012 – to bring us all together with a collective consciousness Daniel Pinchbeck style.
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