The album's released was promoted with two headlining tours of the United Kingdom bookending a North American trek in April 2007.

Bassist Jamie Reynolds broke his ankle, which saw the cancellation of some shows, and Joe Daniel of the Violets covering for him while he sang from a wheelchair.

Myths of the Near Future received generally favourable reviews from critics, some of whom praised the musicianship, though others were dismissive of the rave tag.

[2] They released their debut single "Gravity's Rainbow" in March 2006, while its follow-up "Atlantis to Interzone" appeared in June 2006, with its B-side "Four Horsemen of 2012".

[5] Though the band tried distancing themselves from the genre, their fans would appear at their live shows with glow sticks and wear bright colours in the manner of 1990s rave culture.

[11] Sessions were held at The Premises and Parkgate Studios, with James Ford of Simian Mobile Disco acting as producer and Jimmy Robertson as engineer.

Ford played the drums on every track bar "Atlantis to Interzone", which were done by Steffan Halperin, who the band met through mutual friends of Twisted Charm.

[12] In September and October 2006, they headlined the ShockWaves Presents Club NME on Tour, with support from Shitdisco, Datarock and Simian Mobile Disco.

[14] Klaxons were due to play a short, five-date US tour in November 2006; however, it was postponed in order for them finish working on their album.

[17] Various postmodernism literary references can be heard throughout the album to the works of Ballard, William S. Burroughs and Thomas Pynchon, as well as commentary on Mayan prophecies, totemic ideology and futurism of science fiction.

[19] Dave de Sylvia for Sputnikmusic broke the album into two portions: the rock half that is "dominated by the infectious and enviously-simple basslines" from Reynolds, while the second is focused on "slowly unfolding pop soundscapes" from Righton.

[20] AllMusic reviewer Heather Phares said the band's "sound is closer to dance-punk than revamped Madchester giddiness," akin to the work of Bloc Party instead of Happy Mondays, highlighted by their "most overtly dancey song" in the form of "Atlantis to Interzone".

[21] Uncut writer Piers Martin called it a "marvellous gonzo pop record in the vein of Super Furry Animals’ Fuzzy Logic, a syrupy blitz of [David] Bowie, Blur and Ballard".

[22] In a review for The Observer, journalist Simon Reynolds wrote that the band "draw so little on technorave's sonic principles", opting to employ "indie-rock's guitar/bass/drums", coming across as a "rowdier, more rough-hewn take on Franz Ferdinand's dance-punk".

[38] The Xan Valleys EP was released in Australia by Modular Recordings, consisting of Klaxons' first two singles, remixes and a music video.

[49] The seven-inch vinyl version included "Electrickery" as its B-side, while the CD edition featured a remix of "Gravity's Rainbow" by Soulwax.

[44][58] To promote the release of Myths of the Near Future, the band headlined the ShockWaves NME Awards Tour, which saw support from CSS, the Sunshine Underground and New Young Pony Club.

[65][66][67] At the end of the month, the band played a delayed slot at Festival Internacional de Benicàssim as their flight was affected by poor weather conditions.

[69][70] As he was recovering, the Violets bassist Joe Daniel temporarily filled in while Reynolds sung from a wheelchair for a London show and a stint in Japan in August 2007, leading to an appearance at the Reading and Leeds Festivals.

[71][72] They supported Björk on her North American tour, before embarking on their own; the Los Angeles, California date marked Reynolds' first gig without his cast.

[33] Alex Miller of NME said that when the hype of new rave rescinds, the album would stand as "one of the most dynamic, intense and totally lunatic pop records of the early 21st century".

[82] Blender writer Jonah Weiner thought that the band's aesthetic "makes for some very good music", though said the majority of it was "unmemorable scenery—sustaining the weirdo mood without adding to it".

[23] Paul Cook of God Is in the TV shared a similar sentiment, stating that it was "somewhat of a hit or miss album that occasionally flickers with some stunning tracks".

[87] It was certified platinum in the UK by the British Phonographic Industry (BPI) and silver in Ireland by the Irish Recorded Music Association, both in 2007.

[97][99] Myths of the Near Future won the Mercury Prize in 2007, which saw them earn £20,000, surpassing releases from Amy Winehouse and Bat for Lashes.