Well holy crap! This is a post rock blast from the past here. And some dancing. We always need something for the Floor.
Mogwai
As the love Continues.
So I’ve had to completely rewrite this review. It just seems like the fact that this is Mogwai’s first UK number one and first US top ten album needed to be mentioned.
Now, I fully understand that this is because the only people left buying albums are middle aged men and record collectors but still, this feels like my mates finally did it. Which is pretty presumptuous of me, I’ve never met Mogwai but I’ve been a fan for about 23 years and it is just heartwarming to see. I mean, here’s a picture of them with a trophy for being number 1. It’s adorable.
I first saw them upstairs in the Riverside in Newcastle back in 1998 and they floored me. I’d never seen or heard anything like them and I was onboard for life.
I’m very happy to say that this is their best album in years. And I know that gets trotted out every time a band that has been around for ages releases a new album, but ATLC has a run from Dry Fantasy to Pat Stains, 7 songs, that would be a highlight on any of their albums. Impressive stuff.
Dry Fantasy is the kind of vocal Mogwai song that the band have been perfecting for a while but it’s songs like Ceiling Granny (Named after a bit in the Exorcist 3) and Drive the Nail deliver the best dose of Rock Action since Hardcore will never die.
The guest stars are understated, Atticus Ross (from NIN) provides an unsettling score to Midnight Flit that lifts the song from good to great. Colin Stetson lends his sax to Pat Stains but is so far down the mix he sounds like his part was recorded from outside of the studio. When turned up loud enough to hear properly it gives a really disquieting feel. Supposedly, we were Nightmares, is the only blot on an almost perfect run of tracks. It sounds like a retread of How to be a Werewolf and I didn’t care much for it the first time. But the album finishes strong, with, It’s what I want to do, Mum, showing the band at their best.
Mogwai should be carried shoulder high around Glasgow for a victory lap here but with Covid I guess that we’ll have to forgo that and wait till gigs start up again to show our enthusiasm.
I have my earplugs on standby.
God is an Astronaut
Ghost Tapes #10
Giaa always stood out in the glut of mid 00’s post rock bands. While most seemed to be happy copying Explosions in the Sky, Giaa carved out their own sound very quickly. And while it can be, and frequently is very pretty, what makes them stand out is their huge, melodic riffing. I mean, they always incorporated electronics from their first album, but if you ask me what defines the band, I’m going to say those guitars.
After a few slightly disappointing albums, this Ghost Tapes #10 hits hard. From the opener of Adrift, the band are going for it, the rush of guitars bring back memories of all the old NASA footage they used to use as visuals. This is music for Apollo mission launches, this is vibrant, explosive post rock, heavy but very rarely metal. It feels like flying at breakneck speeds and the high drama that everything may just explode. It’s exhilarating.
But that’s not all Giaa do. They have a far more contemplative side, one for stargazing and maybe just getting stoned marveling at the universe, not as exciting but just as important to their sound. Strangely it’s only the last track, Luminus Waves that slows down enough to be a chill out track, but it works as a nice relaxing moment before the album ends.
I’m also a big fan of this album’s 37 minute run time. This may sound like a back handed thing to say, but in a digital world where post rock bands like to drag everything to 10 minute songs, it’s really refreshing to have a band just do what they’re doing and then leave while you’re still enjoying things.
Octo Octa
She’s Calling
I can’t put my finger on what’s changed with Octo Octa’s music but since their last album, Resonant Body, they have really clicked with me. This ep is 3 tracks of upbeat housey tunes, with clattering breakbeat drums pushing everything forward. Find your way home, starts with a latin house vibe that really soars. There’s a lightness in the music that really speaks to me these days. And, as grim as everything is lately it’s nice to plug in and imagine having a dance to this in a sweaty club.
Now for some music I’ve only just caught up on.
As long as I’m running this there will always be band that I’m catching up on so here we go with this months.
Pilotcan
Bats fly out from under the bridge
This album came out in 2018 and I gave it a bit of a listen, said, “that sounds good” and then never bothered with them again. But this blog gives me a chance to go back and talk about albums I missed and want to give a spotlight to.
Pilotcan are a Scottish band who’ve been going since the 90’s but haven’t managed to make much of a name for themselves. This album was their first in 14 years and it came out to, well, nothing really. That’s a shame, this is an amazing album, just indie music at it’s best.
The thing is, Pilotcan remind me of so many other great acts. From a Days Inn, Virginia has a country tinge with it’s slide guitar but it reminds me of early dEUS. This is something that happens throughout the album, I’m reminded of Broken Social Scene, Idlewild, even Mogwai in places, but where this should be annoying or sound derivative, Pilotcan show their influences without ever aping them. It’s a weird feeling, a kind of nostalgia and love for something you haven’t heard before, but god damn it sounds great.
Metal
Point vacancies
This release came out in November, I gave it a cursory listen and promptly forgot about it. I’m not sure why I went back to it, but there was something niggling at me, saying I should give it another try. Probably the fact that this is a project from one of the members of Teeth of the Sea. Obviously, as I’m writing about it here, I’m glad I did.
This is what I call head nod techno, you’d never hear it in a club but it will keep you bopping in your front room. The first track, Dislocation Climb, reminds me of Snivilisation era Orbital. Full of dread and clattering percussion. The ep highlight, and closest thing to a banger on here is Alloyed Forces, a dark and driving bit of techno.
At 3 tracks it’s only whetting my appetite. And as much as I Love Teeth of the Sea, I hope it doesn’t stop us getting more of this project, because this is great.
The ways of exile 