Rave Tapes

◎苏格兰后摇神格天团，2014年全新瞩目第八张录音大碟 ◎有请经典作「富士银行专辑」《Mogwai Young Team》及《硬汉不死》制作人Paul Savage三度携手，展现乐团与时渐进之后摇大器之作 ◎Clash、Alternative Press、The Skinny等高分推荐；收录〈Remurdered〉、〈The Lord is Out of Control〉等集当代后摇暴烈优雅10首新作 出身苏格兰格拉斯哥的当代后摇名团Mogwai在2012年为法国影集《复活》谱写电视原声带，将其改编以凄美温柔的琴音带出剧中人的悲欢离合，同时也再次向乐迷证明，他们在其它领域仍旧游刃有余。阔别后摇航道三年，再度请来打造1997年首张专辑《Mogwai Young Team》(因专辑封面后皆被称为「富士银行专辑」)、2011年的《硬汉不死 Hardcore Will Never Die, But You Will》的制作人Paul Savage三度携手，在全球乐迷殷殷期待下，终于在2014年推出第八张录音室大碟《Rave Tapes》。 首发单曲〈Remurdered〉里徘徊不去的诡谲电子音韵，为明亮吉他声制造出魔怪特有的悬疑感，彷佛暗处潜伏着未知的生物，歌曲中段柳暗花明，充满John Carpenter科幻味的复古synth riff跃升为主体，俨然以领队之姿引领听者迎接这场探险结局。此曲与专辑名称以及几何线条构成的封面，也许会让乐迷误以为这将是一张电音取向的作品，事实上并非如此，Mogwai仍以吉他为基础，建立出这座绚丽缤纷的听觉大观园。开场曲〈Heard About You Last Night〉犹如另一首出自《复活》原声带的抒情小品，平缓静谧抚慰心灵；〈Hexon Bogon〉则揉合激情吉他独奏，令人热血沸腾；〈Deesh〉以鼓击贯穿全曲，像在叙述一个努力不懈的奋斗故事；终曲〈The Lord is Out of Control〉以变声效果器制作出微妙的未来感，有如〈Remurdered〉的番外篇。 后摇滚的曲式与篇幅常总让流行乐迷退避，深怕坠入无法参透的谜雾森林，然而Mogwai以他们深入浅出，无须绷紧神经与刻意堆砌的音符，完美优雅的表达其天人意境，其悦耳旋律与突破窠臼且井然有序的曲式，也为《狂人语录》打造出宛若大银幕效果的映像听觉感动，更胜前作的黯黑深邃，余韵令人流连。 Rave Tapes is the eighth studio album by Mogwai and their second on Rock Action, the label they set up almost 18 years ago to issue their debut 7in single, Tuner/Lower. In between, the Scottish quintet have established themselves on the international stage through a prolific recorded output and a commitment to touring that few of their peers can match. Clocking in at just under 50 minutes, the 10-track album is a lustrous collection mined from the same quarry as its predecessors, wreathed in painterly textures underpinned by increasingly electronic beats. The haunted strains of Deesh channel the slow-burning ecstasy of their 2006 song “Auto Rock” (a key presence in the denouement of Michael Mann’s film of Miami Vice that year) while the guitars on which Mogwai built their reputation remain, if for the most part less overtly belligerent this time round, as evidenced by the somnambulant opener “Heard About You Last Night” and the sonic scowl of “Hexon Bogon”. With Rave Tapes, Mogwai’s mastery of sound and space is firmly at its apex. Created in summer 2013 in the band’s Castle Of Doom studio in Glasgow, the record marks the latest phase in the group’s increasingly substantial canon – since the dawn of this decade, Mogwai have released four full-length records, one live album, two EPs and three singles. Factor in a pancontinental live schedule in support of one of those albums, Hardcore Will Never Die, But You Will, plus myriad festival appearances and you get a sense of how much of themselves the members of Mogwai invest in their work. In the past year alone the band have broadened their reach with the soundtrack to the acclaimed Canal+ supernatural drama series Les Revenants (retitled The Returned when broadcast on Channel 4 in summer 2013, averaging 1.8m viewers a week across its eight episodes). As the show reached its climax on UK TV screens in July, Mogwai returned to the most conspicuous predecessor to Les Revenants in their catalogue, the 2007 soundtrack to Douglas Gordon and Philippe Pareno’s film Zidane: A 21st-century Portrait, in sell-out performances in Manchester, Glasgow and London’s Barbican, the band playing live while the film was projected above them. Mogwai are Dominic Aitchison (bass), Stuart Braithwaite (guitar, vocals), Martin Bulloch (drums), Barry Burns (keyboard, computer, guitar) and John Cummings (guitar, computer). They formed in Glasgow in 1995 as a quartet, with Burns yet to come into the fold. After a succession of well-received releases and having developed a reputation for their fearsome live shows, Mogwai signed to Glasgow independent Chemikal Underground, with whom they released their debut long-player Mogwai Young Team (1997) and its follow-up, Come On Die Young (1999), recorded in upstate New York with Dave Fridmann (Mercury Rev, Flaming Lips) and the first Mogwai album to feature Burns. At the turn of the millennium Mogwai left Chemikal Underground to sign with PIAS, in large part for its European network, and in 2001 released Rock Action, reaching No23 in the UK album chart. Again produced by Fridmann, the record found the group introducing more electronic tones to their palette, a broadening of scope furthered on Happy Songs For Happy People (2003), the album that saw the band making substantial progress in the US. Aside from Government Commissions, 2005’s compilation of BBC radio sessions, almost three years would pass before Mogwai’s fifth studio full-length, Mr Beast (2006), saw the light of day. Co-produced by the band and Tony Doogan (the sole producer of Happy Songs), Mr Beast was described by the band’s then manager Alan McGee as “probably the best art rock album I’ve been involved with since [My Bloody Valentine’s] Loveless”. A year later, Mogwai released their soundtrack to Zidane: A 21st-century Portrait, and a further 12 months on came the release of the band’s first album away from PIAS and their first entirely self-produced long-player, The Hawk Is Howling (2008). The band’s appetite for greater control was not, however, limited to the studio. Having used Rock Action largely as a platform for releases by such artists as Envy, Errors and Part Chimp, in 2010 Mogwai made the decision to issue their own records on the label as well, beginning with Special Moves, the audio counterpart to the live film Burning, both of which featured Mogwai performing in Brooklyn on their 2008-09 US tour. That same year, Mogwai and Matador ended their long relationship and the band signed to Sub Pop ahead of the 2011 release of Hardcore Will Never Die, But You Will, an expansive, confident set which entered the UK album chart at No25 and spawned three singles. (The recording sessions also yielded the four-track EP Earth Division, the band’s 10th such release.) A year later the album A Wrenched Virile Lore, featuring remixes of songs from Hardcore… by an eclectic array of artists including Justin Broadrick, Tim Hecker and Xander Harris, was released, providing listeners with an entirely new set of perspectives from which to view Mogwai’s increasingly adroit creations. Having barely had time to draw breath, the ever-restless band members kicked off 2013 with the release of the Les Revenants EP and parent album to keep fans occupied while writing sessions for Rave Tapes took place in Glasgow and Berlin, where Burns moved some years ago with his wife Rachel, an artist. Displaying a work ethic to shame bands of all ages and stripes, Mogwai entered their Castle Of Doom studio in the wake of summer’s live Zidane shows and began making the victorious, beatific tracks that comprise Rave Tapes. The release of the album will signal the beginning of a frantic year of live activity, including the group’s maiden foray into Africa. Fasten your seatbelts.