For over thirty years and across ten albums Glasgow’s Mogwai have slowly built a cult following the world over. And not for nothing, their unique approach to mainly instrumental music once baffled the nineties music press. A press who, at that time, were obsessed with pigeon holing every band into some prefabricated scene. Over time that music became labelled post rock and Mogwai assumed the crown. Their debut album, Young Team and follow up Come on Die Young are considered classics of the genre. A recent reissue of both LP’s has reignited the love many have for that era of the band’s music.
I was late in returning to Mogwai’s music. Having bought the No Education = No Future (Fuck the Curfew) E.P. on release along with a whole bunch of other stuff it was when the album Hardcore Will Never Die, But You Will was released that I rediscovered their beautiful noise. In fact, the song ‘George Square Thatcher Death Party’ from that album remains my favourite Mogwai song to this day.
The band whose core members now consist of Stuart Braithwaite (guitar, bass, vocals), Dominic Aitchison (bass, guitar, keyboards), Martin Bulloch (drums) and Barry Burns (guitar, keyboards, bass, synthesizer, flute, vocals) have slowly evolved their sound through the years. That said they always find an emotional thread on each album and leave it there for you to pull at each time you listen.
Their earlier work was raw and dynamic building their reputation as masters of tension and release. Albums like Rock Action and Happy Songs for Happy People showcased their willingness to experiment with electronics, keyboards, and unconventional song structures. They began incorporating more textural elements and subtle atmospheres, moving away from the raw aggression of their early work. It wasn’t long before their talents were called upon by the film industry to craft sumptuous scores for films and TV programmes—like Les Revenants and Atomic. From these compositions the band grew a new confidence and maturity that led to albums like Rave Tapes, Every Country’s Sun and ultimately the number one album As the Love Continues.
At the tail end of 2024 the band released the biographical film If the Stars Had a Sound capturing that evolution through the years along with footage of As the Love Continues being recorded and performed live. Reviews have been overwhelmingly positive with it being nominated for best documentary feature at the 2024 Raindance Film Festival.
Let’s dive in to the album now. Can’t wait to see what song titles the band have in store for us this time.
The album opens with recent single ‘God Gets You Back’ and its obvious the band are in a forward-looking place. It’s a synth driven number with the ominous rumble of bass permeating throughout. Lyrically the song comes from Burns daughter. It’s a testament to Mogwai’s continuous innovation, blending familial intimacy with their established atmospheric style to produce a sound that is new to our ears but immediately Mogwai.
‘Hi Chaos’ is a more guitar centric affair and delves into the band’s rich history of crescendo rock that stretches right back to Young Team. That fuzzed out bass absolutely shakes the walls when it kicks in. The closing minute here is one of the finest I’ve heard on any of their albums. Absolute goosebumps stuff. Mogwai have a habit of redefining the word ‘epic’.
We head into a space rock number next with ‘What Kind of Mix Is This?’ This could have been culled from a 70’s sci fi b movie with its squealing and warbling synths. The main theme though remains unabashedly triumphant. You can almost see the hero’s spaceship barrelling through the galaxy at warp speed.
Up next the last single released ‘Fanzine Made of Flesh’ is the most out and out pop track I’ve heard from the band and that’s no bad thing. They still manage to sneak in those grand soundscapes into the instrumental passages with Stuart’s vocoder vocals soaring everywhere else. He claims the song sounds like a mix of ABBA, Swervedriver, and Kraftwerk but its all Mogwai to me.
‘Pale Vegan Hip Pain’ wins the award for my favourite song title on the album. This serene and calming interlude is stunningly beautiful. The chiming guitars and lush synths all work so well together. The more introspective pace allows us more time to really enjoy all those glorious sonic flourishes. A luminous lullaby for the ages.
As if they ever needed to prove their title as the post rock masters ‘If You Find This World Bad, You Should See Some of The Others’ only cements it. That slow build in the opening section is never repetitive and each new element only builds on what came before meaning that when the song explodes (and it does explode) its all there. It’s all there and the band just send it into the stratosphere. I swear, Mogwai make songwriting like this seem effortless but this is next level.
Ever the sonic explorers on ’18 Volcanoes’ more new ground is broken. Stuarts unaffected vocal laid bare is raw and honest. Instrumentally the band opt for a drum less approach using a pulsing guitar to keep time. It brings to mind the same production approach as ‘No More Sorry’ by My Bloody Valentine but with all those nuances that only Mogwai can bring to a song. The synths are utterly sublime and multi layered which is only going to make repeated listens more and more interesting.
I initially thought I was hearing a cover of the Peanuts soundtrack when ‘Hammer Room’ started. This song is so much fun. It’s like joy in music form. It’s a fine example of the balancing act between that playful side and the dark and menacing tones we know Mogwai do so well. Again, in places this would also make a grand sci fi film theme. I wasn’t expecting that at all. Love a surprise!
Next up is the strident ‘Lion Rumpus’ so named because of one of the bands kids mispronunciation of the Scottish flag, the lion rampant. This song absolutely captured my ear on first listen. It’s so hooky and infectious. Let’s also take a moment to appreciate that guitar solo. It swirls around the speakers like some psychedelic freak out jam. Barry is back on vocoder duty and delivers a stellar performance. It’s a breathtaking track and I’d like more of this type of thing from Mogwai!!
No sooner have we started the album then we reach the final track. ‘Fact Boy’ has an almost Icelandic sonic palate, from the chimes to the steady paced synths and orchestral flourishes. However, there is also a strong Celtic heart beating here and as they always do, Mogwai deliver that emotional uppercut that leaves you on your knees and crying for more. It’s the perfect way to round out the album.
With The Bad Fire, Mogwai have once again proven why they are considered one of the most innovative and influential bands in the post-rock genre. The album’s rich textures, dynamic contrasts, and emotional depth surpasses expectations and once again we are smitten. What struck me more than anything was the range and diverse nature of the songs on this album. From the playful ‘Hammer Room’ to the outer space sounds of ‘What Kind of Mix Is This?’ to the chilled ambience of ‘Pale Vegan Hip Pain’ the band have laid on a sonic feast for us. Whilst the songs are undoubtedly diverse, the album as a whole never suffers. The cohesiveness achieved is breathtaking and speaks volumes to this bands experience and confidence. As Mark Twain once said “Go to Heaven for the climate, Hell for the company.” Judging from listening to The Bad Fire, Mogwai are most excellent company.
The Bad Fire is out on Friday 24th January 2025 on Rock Action Records. You can grab a copy on vinyl, CD and tape from the Mogwai Online Store and stream the album on the Mogwai Bandcamp page.
You can follow Mogwai on social media here….
Photo Credit
Steve Gullick
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