Grade: B+ | The title of the Klaxons’ debut LP, “Myths of the Near Future,” might as well refer to the band’s revival of U.K. rave culture.

The London-based trio has been credited (blamed?) since its 2005 conception as being the saviors of the long-dormant warehouse dance scene. Often associated with sexual exploration and rampant drug use, the movement reached its underground peak in the late 1980s in Manchester, England, as a subculture’s response to mainstream dance music from New Order and the Happy Mondays.

Yes, the Klaxons share a geographical connection to that movement, as well as ever-growing tales of fans’ drug abuse at their shows, and rumors of hearty sexual appetites (as evinced by the “Klaxons ex-girlfriends” Myspace group).

But then, as with now, the premise of rave culture is the DJ (which the Klaxons don’t have) and undeniable beats that keep people lucidly grooving (which the Klaxons don’t play). For a music movement, the trio lacks all music similarities. The British press saying that this is a revival of rave is like saying The White Stripes revived Mississippi Delta blues just because the band plays 12-bar rock ‘n’ roll, or saying that Michael Moore revived cinema verite because he makes documentaries.

It’s a stretch.

“Myths of the Near Future” is nothing more than an 11-song collection of metallic dance tunes, synthetically rigid guitars, filtered and ambient vocals, and programmed loops that sound as cold and acidic as a London winter night. It may get you moving, but you won’t break a sweat. And it’s not supposed to. This isn’t about bodily expression, it’s about performance art. That explains the vibrant colors of the trio’s live show and the fantasy-rooted lyrics.

The Klaxons might be about escapism, but that’s not all, and “Myths” is more chance than dance, and less brave than rave.