The Klaxons burst into the consciousness of the British music press back in 2007 with Myths of the Near Future, an album of danceable, explosively frenetic rock that was quickly labeled “nu-rave”. Quite the moniker to live up to, but the band’s recent follow-up Surfing the Void emerged into the light of day after their label Polydor allegedly complained the first set of tracks was “too experimental” for release. The band then forsook Myths producer James Ford and headed back into the studio with producer Ross Robinson. The result is an album of songs that, on first listen, seem too throttled back and too safe for a band whose calling card was their sometimes violently chaotic melodies and angular beats.