MuseLivers of Last.fmI hate pitchfork. I hate their snobbiness, their sneering at anything overrated, at anything that tries the middle ground between critical acceptance and popular can't-get-that-song-out-of-my head humming, their slavish acceptance of Radiohead (amongst others) while their disdainful look-at-me-I'm being-contrary-for-the-sake-it-ism. That all said, however they are right aboutMogwai Young Team. As much as I tried to hate this album so I would not be a typically 'indie' follower/sheep (and boy I tried) I love it. It introduced me to the world of post rock and its influence is amazing. Seeing them live in Edinburgh last year confirmed their importance.
The album, now over a decade all, has lost none of its power. Post rock is often criticised for being a limited genre, often merely reverting to soft-LOUD dichotomy (yes Explosions In The Sky, as much as I love The Birth And Death Of The Day this applies to you. Young Team was where it all started, taking as its inspiration The Velvet Underground, the shoegaze of My Bloody Valentine and Jesus And Mary Chain with some monster metal riffs.
The opener
Yes! I Am A Long Way From Home builds a gentle rush of feedback and low moaning guitar, building into the slumbering volcano that is Like Herod. To describe this monster as simple soft/loud does not do it justice; the low menacing rumble of instruments sounds like Krakatoa burbling; when it bursts open the resounding roar strikes your from your seat with its power. Few bands, on their debut album no less, can bring such a devastating mix of power and urgency into an 11 minute piece and keep you enthralled the whole way. They do it twice too but more of that later.
Most of the other tracks blend into each other; when you think the album has stuck in a rut, there comes a song likeTracy, showing Mogwai's inventiveness and desire to push boundaries; R U Still in 2 It with its lovelorn vocals (what a perfect day to be publishing this eh?) describes by its shuffling-feet ideas the hopelessness of a loveless relationship.
The best is saved for last. I used to think that those who suggested that long pieces let the piece 'breathe' were idiots who probably sipped wine and listened to far too much Pink Floyd; however here they proved me wrong.Mogwai Fear Satan, A song of breathtaking vision, a song that seems to sum up the whole of creation, building into an almighty sound and, la piece de resistance, a flute providing beauty on top of the muscular guitar. At no point do Mogwai go for broke, just add noise on top of noise. The whole piece is remarkably restrained and for that has an extra layer of poignancy; this can be said for the album as the whole. The effect is to make the noise much more powerful than if it were simply turned on and off, a trap that many post-rock artists fall into.
What effect did this album have on me? It was aurally hypnotic; I couldn't help but listen to it again and again. It introduced me into fuzz-rock, noise and drone for which I am eternally grateful. It made me understand that Pitchfork can (rarely) have a point. And that noise can be beautiful. Just let this album wash over you. It will challenge you and catch your breath at its power and beauty
The album, now over a decade all, has lost none of its power. Post rock is often criticised for being a limited genre, often merely reverting to soft-LOUD dichotomy (yes Explosions In The Sky, as much as I love The Birth And Death Of The Day this applies to you. Young Team was where it all started, taking as its inspiration The Velvet Underground, the shoegaze of My Bloody Valentine and Jesus And Mary Chain with some monster metal riffs.
The opener
Yes! I Am A Long Way From Home builds a gentle rush of feedback and low moaning guitar, building into the slumbering volcano that is Like Herod. To describe this monster as simple soft/loud does not do it justice; the low menacing rumble of instruments sounds like Krakatoa burbling; when it bursts open the resounding roar strikes your from your seat with its power. Few bands, on their debut album no less, can bring such a devastating mix of power and urgency into an 11 minute piece and keep you enthralled the whole way. They do it twice too but more of that later.Most of the other tracks blend into each other; when you think the album has stuck in a rut, there comes a song like
Tracy, showing Mogwai's inventiveness and desire to push boundaries; R U Still in 2 It with its lovelorn vocals (what a perfect day to be publishing this eh?) describes by its shuffling-feet ideas the hopelessness of a loveless relationship. The best is saved for last. I used to think that those who suggested that long pieces let the piece 'breathe' were idiots who probably sipped wine and listened to far too much Pink Floyd; however here they proved me wrong.
Mogwai Fear Satan, A song of breathtaking vision, a song that seems to sum up the whole of creation, building into an almighty sound and, la piece de resistance, a flute providing beauty on top of the muscular guitar. At no point do Mogwai go for broke, just add noise on top of noise. The whole piece is remarkably restrained and for that has an extra layer of poignancy; this can be said for the album as the whole. The effect is to make the noise much more powerful than if it were simply turned on and off, a trap that many post-rock artists fall into.What effect did this album have on me? It was aurally hypnotic; I couldn't help but listen to it again and again. It introduced me into fuzz-rock, noise and drone for which I am eternally grateful. It made me understand that Pitchfork can (rarely) have a point. And that noise can be beautiful. Just let this album wash over you. It will challenge you and catch your breath at its power and beauty
