Album: Myths of the Near Future
Year: 2007
Style: Indie Rock, New Rave, Brit-Pop
Similar Bands: Robbie Williams, Franz Ferdinand on Coke, Under the Influence of Giants, Blur, Jez Osborn (from Peep Show)
"One-Word" Review: Sound An Alarm Dance Pop
Based Out Of: London, England
Label: Geffen, Universal, EMI, Rinse
Label: Geffen, Universal, EMI, Rinse
Myths of the Near Future - Cover, Back & Case Back
Myths of the Near Future - Liner Notes & CD Tray
Myths of the Near Future - Liner Notes / Lyrics & Insert
Myths of the Near Future - Liner Notes / Lyrics & Insert
Myths of the Near Future - Liner Notes / Lyrics
Myths of the Near Future - Liner Notes / Lyrics & CD
Myths of the Near Future - Liner Notes / Lyrics
Myths of the Near Future - Liner Notes / Lyrics
Myths of the Near Future(2007)
- Two Receivers 4:20
- Atlantis To Interzone 3:18
- Golden Skans 2:47
- Totem on the Timeline 2:43
- As Above, So Below 3:57
- Isle of Her 3:56
- Gravity's Rainbow 2:39
- Forgotten Works 3:27
- Magick 3:32
- It's Not Over Yet 3:37
- Four Horsemen of 2012 2:18
Album Rating (1-10): 8.0
Members & Other Bands:
James Ford - Producer, Mixing, Drums
Jimmy Robertson - Engineering, Mixing
Nick Terry - Mixing
Ed Shackleton -Recording
Ed Shackleton -Recording
Jamie Reynolds - Bass, Vox, Lyrics, Artwork
James Righton - Keys, Vox
Simon Taylor - Guitar, Vox, Lyrics, Artwork
Steffan Halperin - Drums
Tony Beard - Managment
Jazz Summers - Management
Unknown-ness: I had never heard of this band, but fromt he cover artwork, I get the image of The Liars. But with their futurestic name and album title, I foresee a more electronic direction for the album. I used to love the game Klax, and there is actuall an image in their collage artwork that reminds me of the tile stacking game, so perhaps there is more to the future electronic style than just their name & album.
Album Review: “Two Receivers” begins with an epic drum rhythm that phases into song. There is an anxious repetitive keyboard echoing like an alarm in the background of this otherwise average indie song with an upbeat, dancy tempo. The song does have many layers of simple sounds which create a mass of depth in the music as well as vocal layers. It is almost too much chaos.
“Atlantis To Interzone” begins with an obvious rave style. Even the words DJ are used. An alarm rings out on repeat along with a female soulful voice repeating Oh-Oh-Oh’s. This is the chorus. The song is a bit like Peep Show's genre mocking song by Jez "This is Outrageous." The verse is just fast indie pop played at dance beat speed. Like a sped up Franz Ferdinand. This would have been a fun song to dance to at a show. The verse is a catchy little section, and is fast, yet is still the break in the driving, anxious tempo. They even employ surf-guitars in the instrumental break.
“Golden Skans” takes us back to a Robbie Williams like introduction and basic pop song. The speed is still speedy and driving, but it is less neurotic as the previous songs.
“Totem on the Timeline” starts with a simple driving drum beat. Then an angular bass line is added and the vocals fall somewhere between Blurs bouncy fun and Franz Ferdinand’s cool guy lounge-singing. This could be the band’s equivalent to a footballer’s chant-along number.
“As Above, So Below” features a reverberating guitar in the beginning giving a jittery feeling to the song. The song is bold and has a loud distorted blast as its bridge between verse and chorus. Then the song clears free and marches on with the verse. The template repeats, making a very catchy song until the end. All the templates overlap creating the chaotic musical thickness.
“Isle of Her” has the feeling of two melodies sung in the round with minimal music in the background, just driving the song along. It is organic but it feels like the song never quite gets to the place it is driving toward.
“Gravity's Rainbow” starts out with a dark driving bass line. Then angular drums and guitars are added, and the vocals are a higher pitch harmonized chorus, akin to the Bee Gees. The melody is a fun little rollercoaster, easy and fun to follow. There are some electronic pulses and effects that make me think of Braniac, but it is nothing that chaotic and calculated. The song builds all the way to the end playing grand finale with layering the vocals on top of one another.
“Forgotten Works” feels like a disco song at the get go. It is informal disco, updated as many angular dance bands have done in the recent past. The chorus is a very sing-songy chant rolling down the musical scale repeatedly.
“Magick” continues the Rave-music feeling with a loud horn honking in beat and electronic hooks repeating to drive you crazy. Then dance-band drums and vocals begin and there is a bit of evil carnival in the sound coming off the keyboard. There is a stop start breakdown which functions as the chorus before the dancy verse comes back in unrelenting force. It’s like a shorter hook than “Sandstorm,” and not quite as catchy, but similar: All that with angular vocals included. The song builds at the end with guitars shredding, the vocals get more intense and the beat loudens until it just cuts off all together.
“It's Not Over Yet” begins with an annoying alarm sounding keyboard hook. That disappears as the vocals begin, but return to form the bridge between verse and chorus. This song has high pitch vocals like the band Under the Influence Of Giants uses. But the verse is light and somewhat wispy as it easily glides by. As the end winds down, it evolves into something that reminds me of the mystic music when The Goonies find the treasure.
“Four Horsemen of 2012” is a heavy spoken/megaphone shouted song that still has an alarm sounding rhythm but is absent of much musical accomplishment and is more like the band letting off steam or just burning calories. It is definitely a fireball of energy all used up at the end of the run.
“Atlantis To Interzone” begins with an obvious rave style. Even the words DJ are used. An alarm rings out on repeat along with a female soulful voice repeating Oh-Oh-Oh’s. This is the chorus. The song is a bit like Peep Show's genre mocking song by Jez "This is Outrageous." The verse is just fast indie pop played at dance beat speed. Like a sped up Franz Ferdinand. This would have been a fun song to dance to at a show. The verse is a catchy little section, and is fast, yet is still the break in the driving, anxious tempo. They even employ surf-guitars in the instrumental break.
“Golden Skans” takes us back to a Robbie Williams like introduction and basic pop song. The speed is still speedy and driving, but it is less neurotic as the previous songs.
“Totem on the Timeline” starts with a simple driving drum beat. Then an angular bass line is added and the vocals fall somewhere between Blurs bouncy fun and Franz Ferdinand’s cool guy lounge-singing. This could be the band’s equivalent to a footballer’s chant-along number.
“As Above, So Below” features a reverberating guitar in the beginning giving a jittery feeling to the song. The song is bold and has a loud distorted blast as its bridge between verse and chorus. Then the song clears free and marches on with the verse. The template repeats, making a very catchy song until the end. All the templates overlap creating the chaotic musical thickness.
“Isle of Her” has the feeling of two melodies sung in the round with minimal music in the background, just driving the song along. It is organic but it feels like the song never quite gets to the place it is driving toward.
“Gravity's Rainbow” starts out with a dark driving bass line. Then angular drums and guitars are added, and the vocals are a higher pitch harmonized chorus, akin to the Bee Gees. The melody is a fun little rollercoaster, easy and fun to follow. There are some electronic pulses and effects that make me think of Braniac, but it is nothing that chaotic and calculated. The song builds all the way to the end playing grand finale with layering the vocals on top of one another.
“Forgotten Works” feels like a disco song at the get go. It is informal disco, updated as many angular dance bands have done in the recent past. The chorus is a very sing-songy chant rolling down the musical scale repeatedly.
“Magick” continues the Rave-music feeling with a loud horn honking in beat and electronic hooks repeating to drive you crazy. Then dance-band drums and vocals begin and there is a bit of evil carnival in the sound coming off the keyboard. There is a stop start breakdown which functions as the chorus before the dancy verse comes back in unrelenting force. It’s like a shorter hook than “Sandstorm,” and not quite as catchy, but similar: All that with angular vocals included. The song builds at the end with guitars shredding, the vocals get more intense and the beat loudens until it just cuts off all together.
“It's Not Over Yet” begins with an annoying alarm sounding keyboard hook. That disappears as the vocals begin, but return to form the bridge between verse and chorus. This song has high pitch vocals like the band Under the Influence Of Giants uses. But the verse is light and somewhat wispy as it easily glides by. As the end winds down, it evolves into something that reminds me of the mystic music when The Goonies find the treasure.
“Four Horsemen of 2012” is a heavy spoken/megaphone shouted song that still has an alarm sounding rhythm but is absent of much musical accomplishment and is more like the band letting off steam or just burning calories. It is definitely a fireball of energy all used up at the end of the run.
Stand Out Track: "Totem on the Timeline"
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