This Klaxons article was written by Jack Dodd, a GIGsoup contributor
The curse of the Mercury Music award is one that seems to crop up every year when the list of prospective nominees is announced. This notion is based upon the fact that winning the award leads to eventual commercial failure and band break ups.
Of course this isn’t true with every case. PJ Harvey, Suede, Elbow, Arctic Monkeys, Primal Scream, Alt- J and many others have gone on to have long and successful careers. Unfortunately for every one of those great achievers there is an M People or a Speech Debelle or a Gomez.
So is it all bad news? Well no definitely not. Most bands who win see a massive boost in sales at least initially and of course are awarded £20,000 in prize money.
Sadly for the Klaxons it seems that the curse has once again claimed another victim. In 2007 the band were the absolute darlings of the NME. They had started a supposedly original scene dubbed Nu-Rave and had been seen as the biggest musical change in a generation since The Strokes.
In a hilariously over the top review the aforementioned magazine claimed that the Klaxons were here to stay and that they would; “Fuck genres, fuck trends, fuck history, this band are only concerned with re-shaping guitar music…forever.”
The band released a further two albums after “Myths of the Near Future” but both were flops and they as good as announced their split towards the end of 2014.
Listening back to the album now it obviously isn’t as good as was described at the time but there can be no doubting that it has some great tracks and certainly added a pleasing alternative to a lot of stuff that was coming out in 2007.
“Golden Skans” can boast one of the catchiest non-worded hooks ever written, whilst their cover of “It’s Not Over” is a genuine euphoric indie dance belter.
The problem with the record though is that it has now dated and in parts is just plain annoying: The generic indie disco hi-hat drum beat on tracks like “Atlantis to Interzone”, the continual klaxon and other stereotypical rave noises that keep kicking in at random points throughout the album and infuriating high pitched shouting that at times sounds like The Automatic’s track Monster.
The shortlist in 2007 was strong with albums such as Amy Winehouse’s “Back to Black” and Dizzee Rascal’s “Maths and English” missing out because of the Klaxons hit and miss effort.
It now represents a sort of musical version of Noel’s House Party. Seemingly brilliantly at the time but nowadays would be met with a very different audience and very different reviews.