'Mr Beast' (produced by Tony Doogan) sees Mogwai getting back to their roots after the slow-burn atmospherics of 'Rock Action', with intricate and bewitching melodies (usually on a piano courtesy of Craig Armstrong) dismantled from within by axe-wielding riffs and cathartic bluster.
Opening with 'Auto Rock', Braithwaite et al announce their intent with a piano melody so pretty it should have a pink bow in its hair; a vision they incrementally enhance through spiralling guitars, apocalyptic drums and a core of noise that converts the melancholic into a chorus of unabandonded joy.
The closest they've ever come to translating their incendiary live shows onto a box-ready slab of plastic, songs like 'Glasgow Mega-Snake' and 'We're No Hear' are unapologetic furnaces of sound, wherein multiple riff pile-ups converge in an apex of noise. Elsewhere, 'I Chose Horses' drafts in Tetsuya Fukagawa (of Japanese hardcore band Envy) to lexicalise the sense of wonder played out beneath through glazed strings, 'Travel Is Dangerous' resembles a cross between 'Take Me Somewhere Nice' ('Rock Action') and 'Christmas Steps', whilst 'Acid Food' borrows some Xylophone from Thom Yorke and peps it up with electronic Rice Krispies. Beastly Boys.
View more
'Mr Beast' (produced by Tony Doogan) sees Mogwai getting back to their roots after the slow-burn atmospherics of 'Rock Action', with intricate and bewitching melodies (usually on a piano courtesy of Craig Armstrong) dismantled from within by axe-wielding riffs and cathartic bluster.
Opening with 'Auto Rock', Braithwaite et al announce their intent with a piano melody so pretty it should have a pink bow in its hair; a vision they incrementally enhance through spiralling guitars, apocalyptic drums and a core of noise that converts the melancholic into a chorus of unabandonded joy.
The closest they've ever come to translating their incendiary live shows onto a box-ready slab of plastic, songs like 'Glasgow Mega-Snake' and 'We're No Hear' are unapologetic furnaces of sound, wherein multiple riff pile-ups converge in an apex of noise. Elsewhere, 'I Chose Horses' drafts in Tetsuya Fukagawa (of Japanese hardcore band Envy) to lexicalise the sense of wonder played out beneath through glazed strings, 'Travel Is Dangerous' resembles a cross between 'Take Me Somewhere Nice' ('Rock Action') and 'Christmas Steps', whilst 'Acid Food' borrows some Xylophone from Thom Yorke and peps it up with electronic Rice Krispies. Beastly Boys.
'Mr Beast' (produced by Tony Doogan) sees Mogwai getting back to their roots after the slow-burn atmospherics of 'Rock Action', with intricate and bewitching melodies (usually on a piano courtesy of Craig Armstrong) dismantled from within by axe-wielding riffs and cathartic bluster.
Opening with 'Auto Rock', Braithwaite et al announce their intent with a piano melody so pretty it should have a pink bow in its hair; a vision they incrementally enhance through spiralling guitars, apocalyptic drums and a core of noise that converts the melancholic into a chorus of unabandonded joy.
The closest they've ever come to translating their incendiary live shows onto a box-ready slab of plastic, songs like 'Glasgow Mega-Snake' and 'We're No Hear' are unapologetic furnaces of sound, wherein multiple riff pile-ups converge in an apex of noise. Elsewhere, 'I Chose Horses' drafts in Tetsuya Fukagawa (of Japanese hardcore band Envy) to lexicalise the sense of wonder played out beneath through glazed strings, 'Travel Is Dangerous' resembles a cross between 'Take Me Somewhere Nice' ('Rock Action') and 'Christmas Steps', whilst 'Acid Food' borrows some Xylophone from Thom Yorke and peps it up with electronic Rice Krispies. Beastly Boys.
'Mr Beast' (produced by Tony Doogan) sees Mogwai getting back to their roots after the slow-burn atmospherics of 'Rock Action', with intricate and bewitching melodies (usually on a piano courtesy of Craig Armstrong) dismantled from within by axe-wielding riffs and cathartic bluster.
Opening with 'Auto Rock', Braithwaite et al announce their intent with a piano melody so pretty it should have a pink bow in its hair; a vision they incrementally enhance through spiralling guitars, apocalyptic drums and a core of noise that converts the melancholic into a chorus of unabandonded joy.
The closest they've ever come to translating their incendiary live shows onto a box-ready slab of plastic, songs like 'Glasgow Mega-Snake' and 'We're No Hear' are unapologetic furnaces of sound, wherein multiple riff pile-ups converge in an apex of noise. Elsewhere, 'I Chose Horses' drafts in Tetsuya Fukagawa (of Japanese hardcore band Envy) to lexicalise the sense of wonder played out beneath through glazed strings, 'Travel Is Dangerous' resembles a cross between 'Take Me Somewhere Nice' ('Rock Action') and 'Christmas Steps', whilst 'Acid Food' borrows some Xylophone from Thom Yorke and peps it up with electronic Rice Krispies. Beastly Boys.
Crystal Clear Vinyl 2LP
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
'Mr Beast' (produced by Tony Doogan) sees Mogwai getting back to their roots after the slow-burn atmospherics of 'Rock Action', with intricate and bewitching melodies (usually on a piano courtesy of Craig Armstrong) dismantled from within by axe-wielding riffs and cathartic bluster.
Opening with 'Auto Rock', Braithwaite et al announce their intent with a piano melody so pretty it should have a pink bow in its hair; a vision they incrementally enhance through spiralling guitars, apocalyptic drums and a core of noise that converts the melancholic into a chorus of unabandonded joy.
The closest they've ever come to translating their incendiary live shows onto a box-ready slab of plastic, songs like 'Glasgow Mega-Snake' and 'We're No Hear' are unapologetic furnaces of sound, wherein multiple riff pile-ups converge in an apex of noise. Elsewhere, 'I Chose Horses' drafts in Tetsuya Fukagawa (of Japanese hardcore band Envy) to lexicalise the sense of wonder played out beneath through glazed strings, 'Travel Is Dangerous' resembles a cross between 'Take Me Somewhere Nice' ('Rock Action') and 'Christmas Steps', whilst 'Acid Food' borrows some Xylophone from Thom Yorke and peps it up with electronic Rice Krispies. Beastly Boys.