MOGWAÏ (JANUARY, 14TH 2025)

Between two soundtracks - including a forthcoming one for Scottish television before the end of the year - the British post-rock band return with a cathartic eleventh album, the writing of which was a relief after some difficult times...





Your forthcoming album, ‘The Bad Fire’, is described as being inspired by difficult times, including personal losses and health problems within the band. Can you tell us more about how these experiences influenced the creation of this album?

Stuart Braithwaite: Yes, we've been through some difficult years. We lost friends, people we worked with, relatives. It was hard to deal with. But Barry's daughter was also very ill. She needed a cell transplant. She'd been in hospital for almost a year.
In those circumstances, it was really difficult to get together for this album because of all the specialist scenarios.
But once Barry's daughter was better, we were able to get back...


This album was a relief


... but couldn't you have exchanged ideas and recordings like others do?

We really needed to be together in the studio! Also, Barry was in hospital a lot: he just couldn't make music.
But generally speaking, we need to be in the same room for things to evolve.
This album was a relief, something positive for all of us to focus on.


We didn't intentionally want to do things differently.





How did you go about recording this album, particularly in collaboration with producer John Congleton? Did you take a different approach to your previous work and give this album a more progressive feel?

Yes, just the fact that we were working with a different person meant that we were able to change the way we did things slightly. We didn't intentionally want to do things differently, but John has his own ideas and his own methods and it just happened naturally.


With tracks like ‘Lion Rumpus’ and ‘God Gets You Back’ already unveiled, how would you describe the evolution of your sound on this album compared to your earlier work?

I think one of the main differences is the instrumentation. When we started the band we had guitars and now we use synthesizers, keyboards and vocoders.... And that changes a lot of things!
So yes, there's been a lot of evolution and also the fact that our songs - as you say - are a bit more progressive, a bit more complicated than when we started out and our music was very simple.


In that respect, do you think this evolution is partly due to John Congleton's production?

John was very creative with the mix, but the songs had already been recorded. We trusted John, he's someone who loves the band. But it's true that his mixing is very creative and he's done a lot of interesting things, strange sounds...


But weren't you afraid of the final result, knowing that from one mix to the next the album can be totally different?

That's true, but we weren't afraid because John is just like us. He has the same background, he's the same age as us, he grew up listening to underground music and punk rock. We're clearly on the same page.


And we come back to what you said at the beginning of the interview, about working together to get to know the person who's going to work on your music...

We definitely trust him. We tried things that didn't work out, but that's part of the process: you experiment, you have ideas - some good, some not... It was constructive work, there were never any conflicts...
We did an interview with John last week and he said it was a very simple process. We've recorded a lot of albums, he's probably done thousands on his own - he's a very busy producer - so yes, it wasn't difficult!


The title ‘The Bad Fire’ refers to a Scottish expression for Hell (and in the sleeve to a volcano). Why did you choose this name and how does it reflect the content of the album?

We chose the title mainly because we thought it was funny (Smiles)! It's something we remembered from our childhood. Even so, I think the title fits quite well because the album was made in difficult circumstances.


Is there a link with what you want to express on this album?

It's strange because I don't think so. But Dave (NdStruck: Dave Thomas) who did the artwork without knowing the name of the album - just by listening to the songs - gave us his cover with fire on it... so maybe there's a connection (Smiles)...


That's [...] how we chose to make our music.





Your music is mainly based on instrumental compositions, which is a rather unusual choice in the music industry. What does this format allow you to express that sung songs couldn't?

It's quite simply the way we've chosen to make our music. I've never been much of a singer, I don't write a lot of lyrics. It's just the music we make...


We're very happy with it.


So, at some point in your career, did you think about surrounding yourself with guest vocalists like Archive, for example?

Yes, we thought about it. But it's complicated to organise things, to find slots to record: the people we wanted were either on tour or on holiday... It didn't happen and in the end, we're very happy like that. Despite everything, there's a guest on the album - our friend Luke Sutherland - who sings on a few songs, as he does on many of our albums.


And in your opinion, who would be the ideal guest for Mogwai's music?

I don't know, there are so many like Iggy Pop - who's my favourite singer - or PJ Harvey: it would be great to have someone like that.


The title ‘If you find this world bad, you should see some of the others’ echoes a quote by Philip K. Dick. What was your inspiration for this track? Does it reflect a dystopian vision or a critique of our current society?

I've got to be honest with you, it's not really the case... The choice of title was a bit of a coincidence, but I love that Philip K. Dick quote, which is very weird and psychedelic.
Even so, the song itself is a bit of an apocalyptic song, but we could call it ‘Anything’ (smiles).


Doing soundtracks gave us confidence


You worked on the series ‘Les Revenants’, so it seems that literature and film are a source for you. What have you drawn from this experience in your music, particularly in terms of instrumental storytelling?

Doing soundtracks has given us confidence in being able to use our music in a different way, to know how music works and in a certain way, to be able to create emotions...
We've done a lot of soundtracks and they've all been enriching experiences. The more music you make, the more you trust the process.


'Pale Vegan Hip Pain' is intriguing because of its ironic yet quirky tone. Is it a nod to modern stereotypes or a more personal exploration? Is there a story behind the track?

Actually, it's a silly, funny story. My wife went to see her doctor and she saw his ‘Pale Vegan Hip Pain’ notes and we thought that was funny (Smiles)...


'18 Volcanoes' evokes explosive power and tension. Can you tell us more about the energy or emotion you wanted to convey with this track? Does it echo personal or global upheavals?

I wrote this song in Melbourne, Australia. I was thinking about music that's timeless, like one of those concepts where you ask yourself what time really is... It's a pretty weird song that goes back to Philip K. Dick's idea of reality and all that stuff...


'God Gets You Back' opens the album with a title that can be interpreted in many ways, between divine justice and personal reflection. What is the story or message behind this choice? Is it a way of setting the thematic framework for the album?

Once again, it's a lot dumber than that (Laughs)! In fact, it's something you say to people when they have a problem, telling them it's God who's fucked up (Smiles)...


Not every album is going to sound like these [singles], there are lots of different things!





The first two singles, ‘God Gets You Back’ and ‘Lion Rumpus’, seem to be getting mixed reactions. Some people talk about a more direct and brutal approach, while others perceive an electro-metal evolution. Was this a deliberate direction or the result of natural experimentation?

It's complicated because we don't choose which songs are released first. Generally, it's the people who work with the radio stations, the pluggers. And generally, it's the shortest songs.
But it's a bit weird because when listeners hear these tracks, they get confused and don't realise the album as a whole: not every album will sound like these tracks, there are lots of different things! No, the album won't sound like these tracks, but people will have to wait and see (Laughs)!


The album also seems to carry a particular emotional intensity, perhaps more organic or even almost metal than some of your previous work. Was this something you wanted to emphasise? If so, how did you go about achieving this balance between power and intimacy in your sound?

One of the things about this album is that it has a very live sound.


We come back to what you said at the beginning of the interview, that you have to be...

.... All together!
As well as being recorded in live conditions, we also recorded this album quite quickly: most of it was done in a week.


It's a cathartic album!


We come back to what you said at the beginning of the interview, that this album was a relief and that explains why you needed to get everything out so quickly...

... Like a catharsis! And still when I listen to it, I find it a cathartic album!


Do you think your audience will share that feeling?

I hope so! The world needs it (Smiles)


We've changed a lot in 25 years!


After a career spanning over 25 years, how do you see Mogwai evolving from your early days to the present day?

We've changed a lot in 25 years! We're obviously older, but I think our music has developed and our reach has changed - we tour internationally - so we're very lucky!
But it's very different from our early days when we used to make our own singles and borrow our parents' cars to get to our concerts... No, things have changed enormously.


And did the young musician that you were imagine that he would be here talking about his new album 25 years later?

He'd be very surprised, but very happy, because a lot of bands I really like, like The Cure or Sonic Youth, have had very long careers...


... on the other hand, while The Cure's success is understandable, it's more surprising with your music, which is less in tune with mainstream tastes. How do you explain the fact that the public has followed you for so long?

I don't know: we're very lucky (Smiles)! But you're right, it's quite surprising because our music isn't mainstream. But the fact is that the public appreciates us and we're very happy about that.


What have been the most memorable or defining moments in your career so far?

I'll always think of the first time we played a big gig, with Pavement in London in 1997. It was a very important moment for me.
I'd also say our last album, which reached number one in the UK and Scottish album charts: that's crazy and will always be engraved in my memory...


Despite a 25-year career, you're far from jaded. It seems you're still surprised by Mogwai's popularity...

I'm very surprised by our career. It's a shock!
We're really lucky that so many great things have happened to us over the years.


A lot of our fans are still buying physical albums.





You mentioned the pluggers. How has the band navigated the changes in the music industry, particularly with the advent of digital technology and streaming platforms?

What's important for us is that many of our fans still buy physical albums; they cultivate this attachment to the physical product...


Streaming is very practical but the artist receives nothing in return.


Does this mean that your fans are essentially from the older generation?

Yes, that's part of it, but it's also probably because they're invested in music and want to support artists, which is very useful because streaming is very practical but the artist gets nothing in return.


And finally, what are your expectations for this album?

I just hope that people like it. But also that it works well live. I'm really looking forward to the tour.


Do you have any dates in France?

Yes, we're coming to France next month to play at the Casino de Paris on 19 February.


Other dates except Paris?

Yes, we're going to offer more dates in France, but later in the year.


Beyond ‘The Bad Fire’, what are your plans or aspirations for the future of Mogwai?

To play more concerts in general...
But more concretely, we've done another TV soundtrack which will be released later this year.


A soundtrack for French television like for ‘Les Revenants’?

No, a soundtrack for Scottish television...


When is it due?

In the autumn...





Because the releases shouldn't be too close together...

At first, the releases were close together, but TV things always take longer, so the release will be this autumn... And then we'll start thinking about composing new music...


"Merci"...

(In French) ‘Merci’...


Thanks to Calgepo for his contribution...