Mogwai – ‘The Bad Fire’ album review: operatic in its unwavering composition
THE SKINNY: When Mogwai first formed in 1995, they weren’t a band that fit into what was considered mainstream. As the industry became enamoured with the sound of Britpop, Mogwai delivered something counterintuitive to being a long-term commercial success. The group had set themselves up for burnout in many people’s eyes. The opposite happened. An unwavering nature towards music and a constant drive to push new and profound ideas have led to the slow establishment of one of the most exciting bands out there, and they stay true to form on their most recent offering.
In his book Spaceships Over Glasgow, Stuart Braithwaite discusses the role of music journalists (and, inadvertently, the role of any listener) and the strange attitude many take when music doesn’t align with what they expect it to be. Whether intentional or not, these few sentences set the foundation for everything that Mogwai have made throughout their time as a band.
“I love music writing and have a lot of time for journalists, but I’m often bemused when criticism is levelled against music for what it is not, rather than how successfully it has managed to be what it actually is,” he writes. “With music, you are trying to achieve what you want, whether you successfully manage it is the issue. To say something is at fault because it is not what you {the writer) want it to be is ludicrous.”
This attitude has helped Mogwai become the globally loved musical outfit they are. Sure, it’s nice if people like your work, but you can’t read minds, so why bother trying to write for anyone other than yourself? Mogwai have always had an idea as to the kind of music they would like to make, and the aim is to achieve that sound, regardless of how it might be perceived on a grander spectrum.
Thirty years later, this ethos has created some exciting musical minds, ones that are confident enough in themselves to say no to convention and create within whatever confines they decide to set for themselves. It gives us albums like The Bad Fire, which play around thematically, don’t hold back on mind-bending effects and structure, and are a joy to listen to from start to finish.
Only a couple of years after their first number one album, it’s clear Mogwai aren’t feeling any pressure. Their balls-to-the-wall approach to songwriting and creativity has gotten them this far, so why try anything different? This layered, intoxicating piece of music is one of the easiest albums you could ever get lost in, and it’s something you won’t want to emerge from.
For fans of: Avant-garde filmmakers who are yet to find a soundtrack for a sci-fi epic.
A concluding comment from an un-titled, un-written film in my notes app: “Dude, we can work with this!”
The Bad Fire track by track:
Release: Friday 24th | Producer: John Congleton | Label: Rock Action
‘God Gets You Back’: We start with a plucking synth. It’s slow and progressive, as the introduction is drawn out. You go to it, it doesn’t come to you. Low fuzzy bass adds layers, occasional wind effects and swooping sounds all help it build, and this gradual work of art doesn’t fully come together until you’re halfway through the song. As you get lost in the overwhelming nature of the instrumentation, words and rhythm guide you home, and the journey through The Bad Fire truly begins. [4.5/5]
‘Hi Chaos’: A looped guitar pattern feels out of sync with the beat it plays over as if the time signatures don’t quite line up. However, this mismatch is not a negative; it helps you lean into the song, keen to look around and see where things go. This run (or slight variations of it) proceeds throughout most of the song, breaking for elevation from time to time, but the track is built around this intriguing guitar line. Like classic Mogwai, the biggest wall of sound envelops the song, but that line remains the cement. [4.5/5]
‘What Kind of Mix is This?’: One of the main standouts in this song is some of the crispest distortion I’ve heard on a track. Around halfway through, the levelled nature of the song is taken to new heights with the introduction of a guitar tone which is equal parts aggressive and soothing. It’s a perfect song just for that sound, but the rest of it’s pretty good, too. [5/5]
‘Fanzine Made Of Flesh’: This bizarrely named track opens up immediately heavy. With such a punk-sounding title eluding to a fanzine, which is in itself a relatively punk thing, it’s nice that the song opens with fuzz and distortion that is primed for dancing. Words are difficult to understand, and true to this busy sound, they act as a layer of a song rather than its crooks. Overall, this is a sing with a hectic nature that’s true to its title. [5/5]
‘Pale Vegan Hip Pain’: One of the more minimalist tracks on the album. There is a foundation set on which sci-fi-sounding synths play drawn-out solos over. It feels like it could be used as the composition for an alien film that hasn’t been written yet, and all four minutes of it are universally wonderful. [4/5]
‘If You Find This World Bad, You Should See Some Of The Others’: At over seven minutes long, the longest song on the album takes its time. Sweeping guitar effects, reverb and sporadic drums create a relaxing backdrop, which becomes thicker as the song progresses. It’s another wonderful example of Mogwai’s ability to create tension on tracks and put together cinematic pieces of music that feel operatic in their unwavering composition. [5/5]
’18 Volcanoes’: This song bubbles like lava. Soft vocals surface above gentle guitar and droning wind sounds. It’s another slow burner and another great example of how to build up to a big finish in a song without letting the audience grow bored on that journey. [4/5]
‘Hammer Room’: This song starts on a much more uplifting note and is one of the more joyous-sounding albums on the record. If serendipity had a sound, it would be something like this: upbeat plucking chords, clapping snares and major scale guitar solos. It feels like a break in the album, a time to kick back and compose yourself. [4/5]
‘Lion Rumpus’: Another upbeat track that doesn’t waste time exploding through the speakers. A lot of instrumentation contributes towards the song’s large sound, but there is no doubt that the lead guitar is where this song excels. This is a masterclass in shredding, showing how sometimes less is more and other times, more is even more. It is a complete mosaic of playing styles, with every single one riding the instrumentation perfectly but sounding completely different in what it achieves. [5/5]
‘Fact Boy’: One of the most easy-going songs on the record, which was likely intentional. By this point, despite only experiencing nine songs, we’ve been through a lot. It’s time to lay down; the album will take care of the rest. [4/5]
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