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Myths of the Near Future

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Album Review

Breathlessly anointed by the British press as pioneers of the "new rave" movement, Klaxons aren't quite as radical on Myths of the Near Future as they've been made out to be — but they're not as grating as the hype around them would suggest, either. Their sound is closer to dance-punk than revamped Madchester giddiness, more like Bloc Party before they got very, very serious than the Happy Mondays or Stone Roses. "Atlantis to Interzone" is the band's most overtly dancey song. Opening with shouts of "DJ!" sirens and guitars that sound sampled, but aren't, then segueing to beats and rhythms that soar and plunge like a roller coaster, the song is the closest approximation of what a "new rave" would actually sound like. Fortunately, though, Klaxons don't limit themselves to a strict diet of shouty vocals, angular guitars, and loping basslines (though these are all present and accounted for on less interesting tracks like "Magick" and "Four Horsemen of 2012"). Myths of the Near Future's layered, deep-focus production prevents the band's sound from getting too boxed-in, elevating "Forgotten Works" and "Isle of Her" with choral vocals and a chilly atmosphere reminiscent of Gary Numan, "Ashes to Ashes" Bowie, and the colder side of Wire. Paradoxically, Klaxons' more classic leanings are what make Myths of the Near Future's best songs sound fresh. "As Above, So Below," "Gravity's Rainbow," "Golden Skans," and "It's Not Over Yet" range from brisk, witty pop to radiant ballads, but they all boast hooks and melodies that many of Klaxons' more straightforward indie contemporaries would be proud to call their own. It's a little uneven and definitely not the reinvention of music as we know it, but Myths of the Near Future is a strong enough debut to survive a level of hype that has crushed other bands, and enjoyable enough to return to when the hype dies down.

Customer Reviews

Oh dear christ yes...

Klaxons. What to do with them? Steadily gathering an army of fans since the low-key release of "Gravity's Rainbow" last year, the band have shot into the public eye (and the top 10) with the inimitable "Golden Skans". Those of us who have followed them from the start will already know their brilliance, but now it's time for them to release their album on the worlds waiting ears. If you first listened to this, without knowing anything about the band, you would think it a pop album (if slightly off-kilter, with a touch more falsetto). But delve deeper in and there are delights here that we could previously only dream of. The tracks fly past you at such a pace that you find yourself disorientated and struggling to keep up. One thing that you immediately notice, on first listen, is how (save for all the singles that aren't "Magick") fearful and frightening this album is. The unsettling, nervy falsetto harmonies of the gorgeous "Two Recievers", the pounding chants of "galloping, galloping, beams faster" and "row, there's only seven more miles to go" on "As Above So Below" and "Isle Of Her" respectively, and the alarming "Forgotten Works". Apart from the slightly dodgy re-recording of "Gravity's Rainbow" (lay off the effects, lads), all the old favourites are given new life here. "Atlantis To Interzone", the anthem of the neu-rave generation, rushes along at such a pace that you believe that it could fall over and come crashing to a halt any second. Another undisputed highlight is "Totem On The Timeline". Losing the tacky organ sound of the demo, it is beefed up here to mind-boggling proportions. The tender-yet-danceable Golden Skans, just a tad slower than the original, is an obvious single choice, but it's not until the last track, the new version of "Four Horsemen Of 2012", that things start to get really strange. With the keyboard effect even more raw and primeval than the original, James' spoken verse underneath Jamie's impassioned cries take it to a whole other level. Klaxons said that here they "just wanted to make a pop album, with 11 great tracks". There's elements of everything here, not just pop, but blimey, they were right about the 11 great tracks. A classic of the 21st century.

More Magick

this album is 100x better then i ever expected it be, i love the singles and the EP xan valleys which unfortunately isn't on itunes. however i thought the album would be too much of the same and it would wear off its charm. this isnt the case as i have found to my delight, great selection of tunes here whether you think its rave or indie, top album - a must buy for 2007


Klaxons are no longer just part of the 'New Rave 2006 NME Glowstick Craze', they are a solid, mystical, ingenius band with much more to offer than sirens and synths. This album is seriously good quality.


Formed: 2005 in London, England

Genre: Alternative

Years Active: '00s, '10s

The London-based Klaxons feature the combined talents of Jamie Reynolds, James Righton, and Simon Taylor. Despite being a rock band at the core, Klaxons are heavily influenced by dance music, particularly the late-'80s/early-'90s U.K. rave movement. (Reynolds has even dubbed his band "nu-rave" to further emphasize the inspiration.) By the time Klaxons released their second low-key single, they had become a favorite of publications such as NME and wound up signing with Polydor Records. As the group...
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Myths of the Near Future, Klaxons
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Customer Ratings