Word: mogwaiã
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With all these challenges, it’s no surprise that Mogwai??s work over the past ten years has been somewhat uneven. When they’re weak, the music is tedious, derivative, and overwrought. But when Mogwai are on, their songs stir us in a way that few other things—musically or otherwise—can. Their strength lies in an ability to take a simple riff and slowly weave an epic arrangement around it, until every color of every note has been revealed. A single chord can be heartbreaking...
...Mogwai??s manager, Alen McGee, has been quoted as saying that “Mr Beast” is “possibly better than ‘Loveless,’” the legendary My Bloody Valentine triumph of sound engineering (and reportedly the most expensive record ever made).The comparison is not quite called for, but McGee is right to call attention to the album’s production. This album sounds great. The tone is full, lush, and urgent, pushing Mogwai??s music toward an emotional depth that their earlier work...
...Contemporary rap music has perfected this combative sub-genre, taking it to the logical (and lucrative) extreme: artists on the same label exchange public barbs and bullets—50 Cent and the Game, anyone?—so as to keep the hype boost well within the family. Mogwai??s anti-BRIT sentiments represent a perfect intersection of the above-mentioned categories. Their own music, while more compositionally accomplished (Barry added to his anti-Blunt screed with, “I have spewed blood down dirty toilets with more talent”), is also melodic British rock...
Government Commission’s true strength lies in its impeccable sequencing. The album’s spans Mogwai??s four albums, as well as two tracks from Ten Rapid, a collection of early singles predating the band’s classic 1997 debut, Young Team. But rather than coming off like a hodge-podge of oddities, it has a straight and organic flow, peaking with a ballooned-out version of the schizophrenic epic “Like Herod” and coming to rest with a fittingly shoegaze whimper on the fuzzed-out “Stop...
...true of Mogwai??s entire discography, vocals are scarce. Other than the ghostly intonations of the opener “Hunted By A Freak” and the passive pleas floating along on “Cody,” the songs here are made up entirely of the interplay between swelling guitars and keyboards, with the percussion in the backseat...