The album's cover is as obscure as its sound. (Photo via mogwai.co.uk)

Although veterans of the music industry – having released their debut album in 1997, Mogwai has existed essentially as an even more obscure version of My Bloody Valentine, worshipped by hipsters and college radio personnel but confined to a career of playing tiny clubs.

While “Rave Tapes” will most certainly not bring Mogwai widespread success, back-to-back sold out shows at London’s Royal Festival Hall and a spot in this year’s Coachella lineup prove that the new release promises to increase the band’s popularity. 

Nevertheless, despite this noticeable increased awareness of the band, Mogwai’s musical style has remained fairly consistent over the past seventeen years; if anything, Mogwai’s sound has undergone a minor Radiohead-esque transformation in relying more on electronic instrumentation than on earlier releases. 

The first single, “Remurdered,” is one of the most synthesizer-heavy songs of the album, varying greatly from songs such as “Like Herod” off their debut album, and instead sounds comparable to the Tron soundtrack. Similarly, the last track of the album, “The Lord Is out of Control,” is incredibly electronic to the point of sounding robotic: although one of the few songs to include vocals, the singing is so computerized that it sounds inhuman. 

However, aside from these overwhelmingly mechanized tracks, many songs seek to blend this newer, electronic style with traditional instrumentation. On both “No Medicine for Regret” and “Simon Ferocious,” drums and guitars steadily build upon the melodic backbone provided by the synthesizer.

Likewise, in the opening track “Heard about You Last Night” and “Blues Hour,” the combination of synthesizer and piano produce extremely mellow, almost ambient tunes. 

Although “Rave Tapes” is considerably lighter than Mogwai’s albums released in the nineties (which often incorporated heavy guitar riffs), a more rock-driven sound dominates the middle tracks of the record. In “Hexon Bogon” and “Master Card,” a return to their heavier rock roots is apparent in the guitar melodies and drum foundation.

Additionally, in “Repelish,” the drums and almost hypnotic vocals give the song a more traditional rock structure and sound. Even in “Deesh,” which is rather electronic due to the dominance of the synthesizer, the heavy guitar grooves and punctuating drums give the song more of a distinctive rock vibe than on the other electronic tracks.

Certainly, the hybridized genre of post-rock – a blend of electronic, alternative, and indie styles – is still far outside the mainstream, but the present musical climate – increasingly more accepting of experimental rock genres, especially following the resurgence of My Bloody Valentine in 2013 – could not be more advantageous for Mogwai, even if “Rave Tapes” is hardly revolutionary.

Read more of NT's album reviews here.

Reach Staff Reporter Ashley Hawkins here.