[citation needed] After streaming their first recordings online, they were signed to a Sydney-based label who co-opted the songs to form half of the debut EP of the same name, which was released in November 2006 to critical acclaim.
Widely seen as a departure from their guitar focused debut EP, it took sections of their fanbase and the music industry alike by surprise, and aroused a passionated critical response.
[4] They have also played or toured with the likes of Who Made Who, The 1990s, Crystal Castles, Ratatat, The Howling Bells, The Shocking Pinks, Dappled Cities Fly, Cut Copy, and the Midnight Juggernauts.
It's scarred by the past – a theatre of the Trojan and first World Wars, and the campaigns of Xerxes I and Alexander – but its ongoing physical beauty slaps mankind's lust for a longer shadow in the face.
Ghostly vocals and darkly subdued interludes grafted against bursts of noise amount to a certain degree of difficulty in pinpoint the genre of Dardanelles, who blend elements of punk, electronica, dance and pop into a distinct variant of art rock.
The music press have likened elements of their sound to contemporaries Liars and TV on the Radio, as well tribal-era Cure material, Can, The Creation Records stable, psychedelic 80s Northern England outfits such as The Chameleons, aspects of first-wave Detroit-tech and, frequently, to Joy Division.
[7] The sheer inability to categorise their sound has resulted in frustrated music journalists resorting to inventing new genres suck as "post-crunk-nu-rave", "industrial gospel/industrial pastoral" and "neu-gaze".
Other influences cited by various band members include Avant-Classical pioneers Terry Riley and John Cage, the soundtrack work of Philip Glass and Vangelis, German experimentalists Cluster, Kraftwerk, Can and Popol Vuh, Brian Eno's solo work and collaborations, Australians The Triffids, The Birthday Party, and Bob Fisher and the Renegades, and the Factory Records' production values.