[rating=8.00]
Over two decades out from the release of their debut, Mogwai Young Team, Scottish post-rockers Mogwai are still consistently releasing great material. While there has been some flirtation (and in the case of Rave Tapes, embracing of) the use of electronics and synths, the main formula of lengthy guitar-based instrumental pieces with dynamic contrast, melodic bass lines, and heavy use of distortion and effects with minimal vocals has run the length of their discography. Working again with producer Dave Fridmann, Every Country’s Sun feels reflective of 1999’s Come On Die Young and 2001’s Rock Action/My Father My King, which were also produced by Fridmann.
The soundscapes heard on opening track “Coolverine” give the listeners a pretty good indication of where the rest of the album is heading. Distorted and effects-laden guitars play over fantastic melodic bass riffs while the drums pound away in the background. The follow-up track, “Party in the Dark” might be as close as Mogwai has ever gotten to a proper “pop” song. While the instrumental pieces fit nicely in line with their other material, the use of vocals on this song makes sound like a bid for some radio play. “Don’t Believe the Fife” is full of musical twists and turns as its dark use of synths make it sound like it could be part of the Stranger Things soundtrack. “Old Poisons” is an upbeat grunge loaded track that toes the line of metal with its heavy riff-based “solo” that makes the listener want to bob their head along to. “20 Size” sounds like it could come from any of their releases around the turn of the century and is so moving that you cannot help but be taken along on the journey that it unfolds. The title track closes the album with a beautiful epic full of delayed guitars and creates a stunning soundscape to explore.
While Mogwai usually doesn’t reinvent themselves by any means on their albums, it’s comforting to have such a dependable and reliable band out there releasing music. Every Country’s Sun gives of the impression of both being new and yet still familiar at the same time and that’s not necessarily a bad thing. It almost feels like a nod back to everything that they have released, so far, and still has its own unique sound.
