Surfing The Void＜Orange Vinyl＞

Klaxonsの2010年2ndアルバム『Surfing The Void』のリリース10周年記念LPがオレンジ・ヴァイナルで登場。2010年以来10年ぶりのヴァイナル化。日本盤CDのボーナス・トラック「Birdman」「Hello 23」「Sorcerer City」の3曲をボーナス収録。この3曲はいずれも初ヴァイナル化。

"Record Store Day 2020"限定リリース

Nu rave felt like a distant memory by the time Klaxons' second album Surfing the Void appeared, much longer than three years after their debut Myths of the Near Future kick-started the style’s day-glo mix of rock and dance, winning the Mercury Prize along the way. Accolades like these meant expectations were high for the band’s follow-up, especially from Klaxons’ label. Surfing the Void had a famously difficult birth, with an entire album’s worth of songs scrapped for being “too uncommercial” and aborted sessions with Simian Mobile Disco's James Ford among other producers. The band’s work with Slipknot and At the Drive-In producer Ross Robinson got the green light from their label; while Klaxons don’t quite go from nu rave to nu metal on these songs, the album is so dense and urgent that they sound more like their namesakes than they did before. The single “Echoes” is downright ingratiating, from its huge choruses to its undulating basslines, but from there, the band doesn't just surf the void, they do their best to fill it with hard-edged music and ayahuasca-fueled lyrics about time travel and spiritual enlightenment. Klaxons showed a fondness for chaos on Myths of the Near Future's “Atlantis to Interzone” and “Four Horsemen of 2012,” but it’s a full-blown love affair on the title track. With its furious, simultaneous piano and guitar riffs, “Surfing the Void” recalls a trippier “Atlantis." Meanwhile, “Flashover” invents metal-prog-pop, somehow turning the phrase “myriads of silver discs” into a hook and making its abrasiveness catchy. “The Same Space” shows the band still has a flair for bittersweet melodies, and though Surfing the Void is less accessible than Klaxons' debut, things never get completely out of hand. What may be most interesting about Surfing the Void is Klaxons' newfound earnestness, which feels like a byproduct of how hard it was for them to get the album made. Where they used to be cerebral smart alecks dropping allusions to Pynchon and Burroughs, they now sing equally cryptic but heartfelt lyrics about “true horizons” and “imaginations opening.” ~ Heather Phares

最初に作っていたアルバムを難解すぎるためボツにしたこと、最終的にプロデュースをリンプビズキットやコーンを手掛けたロス・ロビンソンが担当したこと――そんな前情報からどんな作品になるのか検討もつかなかったが、蓋を開けてみるとなるほど情報通りの内容だ。つまり、ハードなバンド・サウンドという意匠面での大変化を持ちつつ、センティメンタルなメロディー＋リズムへの高い意識は前作からの軸がブレていないどころか、＜ニューレイヴ＞の陰で見えにくくなっていた本質を明らかにした観も。そのため、歌モノとしてのポップさが保たれているので難解さはないが、重層的な構造の音ゆえ解釈の自由を許す深さが美しく宿っている。彼らの影響で今後ニュー・メンタル的なアプローチが流行する……かも？
bounce (C)妹沢奈美