Interviews
Mogwai on “Rock Action”
A Bold Redirection
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Mar 14, 2017Issue # 59 - 15th AnniversaryBy Charles Steinberg
Find It At:AMAZON
Mogwai are an enduring and majestic band, singular in their fiercely integral approach to the dramatic rock instrumentalism they have defined and transcended. Back in 2001, their legacy was only just beginning to materialize. Mogwai's first two records of alternately sweeping and pulverizing guitar composition had navigated them into the stormy realms of post-rock, where they reigned with a brooding mystique. Refusing to be contained by the parameters of genre, Mogwai headed into the recording of their third album, Rock Action, determined to distinguish themselves with an enhanced and diversified effort.
'Rock Action was a very different record for us,' recalls co-founder Stuart Braithwaite 15 years later. 'We spent a long time making it and kind of pulled out all the stops. We had just signed a large record deal, so it felt pretty big-time. This is kind of funny timing too because it was the last record we made with [producer] Dave Fridmann and we're actually going back to record with him in a couple weeks!'
The venerable Fridmann had also produced Mogwai's previous album, Come on Die Young, a very different record sonically. 'Come on Die Young was a rehearsal room record. We'd play those songs [over and over] and Dave just recorded it really well.. Whereas Rock Action was more of a studio record. We really worked on things in the studio with Dave.' The result was a novel sound that incorporated electronic, orchestral, and vocal elements they had yet to explore. The vocals in particular added the presence of shadowy character scarcely seen in Mogwai's earlier settings. Braithwaite reintroduced his whispery drawl and Gruff Rhys of Super Furry Animals lent his Welsh chant to the acoustically winding Dial: Revenge. 'I think a lot of that was just having the opportunity. Our first record was really bare bones, Come on Die Young less so. By the time we got to Rock Action,we had opportunities that we hadn't had before. Maybe subconsciously we felt like we'd never get the chance again, so we wanted to try those things.'
The inclusion of these new elements sets Rock Action apart as perhaps Mogwai's most imaginative effort and the arrival of multi-instrumentalist Barry Burns was a further catalyst for dimensional expansion. 'Barry joined the band quite far into recording Come on Die Young, but on Rock Action,he was involved really heavily,' explains Braithwaite. 'For that reason the album is important. It's the first of our records that had as much keyboards as it did guitar. Barry was prolific and he remains prolific.'
According to Braithwaite, the comparatively brief Rock Action had many more recordings that didn't make the final eight song cut, so the plan is to put out an expanded version. He's quite happy there's still the interest in that era in Mogwai's evolution to make such a pursuit worthwhile.
It's always interesting to find out if a band's new direction is brought on more from external or internal forces. At the time, Mogwai was categorized as post-rock. Rock Action can then be interpreted asa statement: 'That's not all we are.' Braithwaite agrees: 'That was a big part of it. The sound we were making and that Godspeed You! Black Emperor were making, was becoming almost fashionable..so we used that as motivation to do something specifically different with the music. I don't know if we completely succeeded, but it was fun trying.'
[Note: This article originally appeared in Under the Radar's Best of 2016 / 15th Anniversary Issue (January/February/March 2017). This is its debut online. The issue came out in late December 2016 and partially celebrated the 15th anniversary of Under the Radar's first issue, which came out in December 2001, and thus featured articles on albums that also came out in 2001.]
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Mogwai Rock Action
There are a few things in this world I'm pretty sure of. One of them is that,n in ..
There are a few things in this world I'm pretty sure of. Cyberlink powerdirector 9 full version crack. One of them is that, in a 'Survivor'-like desert island competition between Mogwai and fellow crescendo-rockers Godspeed You Black Emperor!, Mogwai would be taking home the grand prize. While Godspeed's Efrim Menuck would spend his time trying desperately to craft cigarettes out of coconut shells, picking bugs out of his beard, and figuring out a way to fabricate cellophane in which to bury the dead, Mogwai's Stuart Braithwaite would be busy sabotaging the enemy camp, starting bonfires, and dancing naked under the light of the moon.
Alright, so maybe I'm exaggerating. But it can't be denied that of all the bands making epic, apocalyptic rock music these days, Mogwai seem to be the only ones who can sit back at the end of the day and have a good laugh. Sure, their music can be extremely serious and deeply affecting, but there's an element of adventurousness and willingness to fuck with your expectations that makes Mogwai less dire than their competitors.
This adventurousness is evidenced by the fact that Mogwai managed to craft a brilliant debut-- 1997's Young Team-- that achieved the sainted goal of balancing fragile beauty and overwhelming sonic terror. Young Team allowed Mogwai to perfectly encapsulate the essence of their namesake-- those crazy little critters from the movie Gremlins. I still remember the song of the Mogwai; it's a simple, beautiful melody sung in freakish la-la's, yet signifies imminent destruction and face-rippage. Such was the case with Young Team-- a beautifully orchestrated melodic passage could successfully lull you into submission. You pet it. You kiss it. You feed it after midnight.. and boom! Layered feedback, crashing cymbals, vacuum cleaner noises, claws, teeth, and wanton destruction.
Sadly, the follow-up to Young Team, 1999's Come On Die Young, replaced the aural explosions of the debut with gradual burnouts. Songs that could potentially have been made great seemed to go absolutely nowhere, resulting in an album full of wasted promise-- a better soundtrack to an afternoon nap than a terrifyingly beautiful explosion.
So what did the boys in Mogwai do? Did they go home and whine to their mamas? Of course not. Mogwai isn't a band of words, they're a band of action-- in this case, Rock Action. As of late, the music press has been falling all over itself to point out that-- get this-- Rock Action is not actually full of action, nor does it rock. And while, yes, the album is, for the most part, a very deliberate, moderately paced album, it manages much like Young Team to pack a stellar amount of energy into a medium-tempo rock song.
Which is not to say that Rock Action is a carbon copy of Young Team. Far from it, in fact. Perhaps the greatest difference between this record and its predecessors is the expanded range of sounds incorporated. In the past, Mogwai have been largely guitar-driven, relying on plucked melodies coupled with soaring feedback crescendos to create their trademark sound. Here, such diverse elements as banjos, patterned static, and the Welsh (singer Gruff Rhys from Super Furry Animals) are incorporated, making Rock Action the most sonically dense release of Mogwai's career thus far.
This more complex sound has its ups and its downs. On the positive side, it makes Rock Action a really fun album to pick apart. Dave Fridmann's production is flawless, affording each instrument just the right mix of distinction and ambiguity to create an engaging, yet cohesive whole. Unfortunately, this expanded repertoire comes at a cost. One could say that Rock Action is more focused on sound and less so on melody and structure than the classic Young Team. As a result, the epic 'You Don't Know Jesus,' the album's standout track, never attains the level of jaw-dropping perfection that Young Team's 'Like Herod' or 'Mogwai Fear Satan' laid claim to.
Rock Action Mogwai
Still, Rock Action certainly has its peak moments. Aside from 'You Don't Know Jesus,' two shorter tracks-- the opening 'Dial: Revenge' and 'Secret Pint'-- perfectly showcase the strengths of Mogwai's new direction. The former, which features the talents of the aforementioned Gruff, puts vocals to better effect than the band's previous singing excursions, creating a stunningly gorgeous orchestral rock track that seems to extend far beyond its 3xBD-minute duration. The latter, the album's closer, puts to work sparse piano, huge-sounding drums, and mumbled vocals, giving a beautiful ending to a similarly beautiful record.
Despite the changes the band has been through on the road from Young Team to Rock Action, there are enough unifying elements to conclude that those of you who seriously dug the band's earlier work will find a lot to like about the record. Granted, it's not mind-blowing, and it's not nearly as masterfully executed and affecting as their earliest work. But there are only a handful of bands out there that can put out an album as well-constructed as Rock Action and still expect people to bitch and moan about it. The fact that Mogwai can laugh at their detractors could either lead to the band pursuing brave new directions in rock, or traveling down a path of smug self-satisfaction and stagnation. Either way, Rock Action suggests that it'll be worth sticking around to find out.
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