New Rave: A Brief but Bright Spark in 2006

The 'new rave' genre propelled Klaxons to prominence in 2006, even earning a nod from Rihanna, before its rapid decline. This look back explores the short-lived U.K. movement sparked by breakout singles from London dance-rock group Klaxons.

Rihanna & Klaxons: A Pop Collision

The 2008 BRIT Awards offered a surprising moment of validation for the new rave scene. Rihanna performed her hit “Umbrella” backed by Klaxons, the scene’s most recognizable band. This collaboration demonstrated the genre’s ability to compete with pop megastars before its eventual fragmentation.

The Birth of a Genre

The term 'new rave' entered the British music lexicon in 2006. Bands like Klaxons, Late of The Pier, and New Young Pony Club offered a vibrant alternative to the indie-rock of Arctic Monkeys. It shared similarities with electroclash and dance-punk, subgenres popular across Europe and North America.

Indie Sleaze & Retro Revival

In recent years, new rave has been absorbed into the broader ‘indie sleaze’ aesthetic. This retro label encompasses bands, artists, and fashion styles featured in Lizzy Goodman’s Meet Me in the Bathroom, an oral history of New York’s post-9/11 rock revival. British acts like Bloc Party, The Libertines, and Franz Ferdinand have also been included in this revival.

A Distinct Aesthetic

New rave distinguished itself from the post-punk revival with its vibrant aesthetic. Inspired by the U.K. rave scene of 1989’s “Second Summer of Love,” it blended mid-00s high-street fashion with ‘70s psych style. Glowsticks and neon colors were essential accessories, creating a bold and playful look.

Klaxons: The Architects of New Rave

Klaxons, comprised of Jamie Reynolds, James Righton, and Simon Taylor-Davis, were central to the movement. Reynolds revealed that the term 'new rave' was intentionally created to generate media attention. Former NME editor Connor McNicholas noted the music press’s role in driving the scene forward.

Breakthrough Success in 2006

2006 marked Klaxons’ breakthrough year. Their debut single, “Gravity’s Rainbow,” reached No. 35 on the U.K. Singles Chart, followed by “Atlantis to Interzone.” Both songs successfully combined the energy of rock and dance music. Radio play from DJs like Zane Lowe, Steve Lamacq, and Jo Whiley further boosted their profile.

Festival Glory & Club Nights

Klaxons delivered a memorable performance at the Reading & Leeds Festival in August 2006. Their music resonated with fans of both guitar-driven rock and electronic dance music. The band also benefited from the popularity of Erol Alkan’s club night, Trash, which provided a space for alternative artists and fans.

The New Rave Revolution Tour

NME’s New Rave Revolution tour, featuring Klaxons, Shitdisco, and Datarock, brought the sound to students across the U.K. in late 2006. Channel 4’s teen drama Skins, with its soundtrack of cutting-edge music, further amplified the genre’s mystique.

Mainstream Recognition & Mercury Prize

Klaxons’ profile continued to rise, culminating in a cover of Justin Timberlake and T.I.’s “What Goes Around…Comes Around.” In 2007, they won the U.K.’s Mercury Prize for their album, but the band grew uncomfortable with the 'new rave' label. They felt the term had spiraled beyond their control.

The Implosion of a Scene

Like many underground music scenes, new rave’s end was swift. The genre’s emphasis on constant partying contributed to its downfall, with drugs and shifting musical trends playing a role. Klaxons’ 2010 follow-up album arrived too late, as the dance music landscape had shifted towards dubstep and EDM.

A Legacy of Confusion

By 2007, James Righton declared the 'new rave' tag a “death knell.” The global financial crisis of 2008 ushered in an era of austerity, making the carefree spirit of the mid-’00s feel distant. New rave’s legacy remains debated, but for a brief period, it was an electrifying and unique force in music. Rihanna herself called the Klaxons collaboration “really different, very cool, and unexpected.”