REVIEW: MOGWAI @ HINDLEY STREET MUSIC HALL

The Scottish post-punk rockers melted faces with their intricate wall of sound on a balmy summer eve.

Words by Will Oakeshott

Image Supplied

In a matter of weeks, the premiere of Scottish post-rock pioneers Mogawi’s documentary If The Stars Had A Sound will be taking place at ZACH Theatre in Austin, Texas as part of the esteemed South By SouthWest Festival. During the trailer for the film, the narrator expresses the following commentary: “The light and the dark are always there, clashing and bouncing off each other in Mogwai’s music”.

Truthfully this description is immaculate in detailing the art that Mogwai performs; it is above dazzling and especially in the live setting. On this evening at a rather crowded Hindley Street Music Hall, the light and the dark did crash and bounce off each other exquisitely. However, it also divinely combined to mesmerise all those present in witnessing this illustrious musical adventure.

Supporting a monumental act such as Mogwai is a treasured opportunity in itself, but achieving this as an outfit’s very first live performance is an astronomical milestone. For local progressive instrumental quartet Kuiper, this is exactly the momentous occurrence that was presented before them and they were here to seize the opportunity and blast off with it. 

After a tranquil piano-driven introduction quietened the audience, the four gentlemen casually walked onto the stage to appreciative cheers from their onlookers; after they took their positions, a warm wave of synthesisers blanketed all three levels of the venue and ‘A State Of Flow’ entranced all within. Blending flourishes of the Blade Runner film soundtrack with electronic synthwave trailblazers Survive, the opening track created a tender haze which led flawlessly well into ‘Alignments’. It was during this building track that the guitar, bass and drums enhanced the composition led by Kuiper’s mastermind Dion Zisos on both digital and analog synthesisers; the energy incredibly escalated to spirited levels. A fusion of This Will Destroy You’s delicacy with Russian Circles’ resonance became the glorious guidance and an expression which suits Kuiper very well.

The four-piece then featured three new tracks from a forthcoming LP that also incorporated influences of Minus The Bear and Maybeshewill that broadened their soundscape to even the realms of post-punk. Dion was certainly in his element and appreciative of this privilege the quartet had bestowed upon them, often thanking everyone involved after each track and putting his entire being into his instruments and performance. It was a striking showcase, and would you believe, it was Kuiper’s first show? Astonishing.

“We are Mogwai from Glasgow, Scotland. It’s good to be back.” 

Stuart Braithwaite was ready to put all of Mogawi’s cards on the table with that introduction and what followed was simply put, remarkable Rock Action.

The eerie synth of 'To the Bin My Friend, Tonight We Vacate Earth’ initiated the hypnosis of the Adelaide audience as the percussion then slowly emerged and led all other instrumentalists in for the effusive eruption that occurs at the two-and-a-half minute mark of the track. The outburst is undoubtedly one to marvel at, yet it is more fascinating than ferocious. Similar to the molten rock that builds and emerges out of a volcano, the music pulsated in movements, at times with vivacity and at others, euphoria. The light and dark of these Scots’ post-rock was undoubtedly clashing and bouncing off each member astoundingly.

 ‘Dry Fantasy’ radiated a musical trance for the attendees to become mystified by its dalliances of exquisite electronica. From an upstairs viewpoint, every person on the dance floor seemed to swirl in unison like beautiful tidal movements of the ocean. Mr Braithwaite then gave up his guitar for ‘I Know What You Are, But What Am I?’, opting to just use his effects pedals whilst kneeling on the ground. This created a distorting crunch and "siren effect" and each musician excellently emanated either their jarring reverberation or harmonious zeal that collated brilliantly into a bewitching exhibition.

‘Ritchie Sacramento’ was the first to feature Stuart’s ethereal voice and the very suiting lyrics, "Disappear in the sun. All gone, all gone”, described divinely the aura of this showcase. In a sense, the spectators were melting away from reality and entering a warmer dream-like consciousness. ‘New Paths To Helicon, Pt. 1’ then had Stuart move to the bass and Dominic Aitchison undertook guitar duties. This became an adventure that built on imagination; at times instrumental music allows one’s mind to explore perhaps even the world of fantasy. For this scribe though, this composition lends itself to a group of orcas navigating the seas passively and gracefully to begin, then rapidly rising to the surface to hunt their prey as the symphonic tune intensifies. The toothed whales then descend into the calm of darkness as the song draws to a close. It is the track’s and Mogwai's majesty that transports the listener to another world and it is beyond remarkable.

‘Summer’ embraced the loud/quiet dynamic with unbridled animation and Braithwaite became practically punk in his live display. ‘Drive The Nail’ and ‘I’m Jim Morisson, I’m Dead’ shadowed these sentiments flawlessly. ‘Remurdered’ was delivered with a post-punk emphasis that would have made Nick Cave beg for a collaboration and Ian Curtis enact his famed jangly and wild dance moves. ‘Old Poisons’ then brought about the orca attack soundtrack once again - the pursuit, the speed, the rage, the hunger, the ferocity and conclusively the victory all with an expert strategy.

It went dark, then it became light; the Glaswegians rejoined Adelaide for an encore. ‘Hunted By A Freak’ concocted a haunting ambience that Radiohead would have marvelled at before the onslaught that is ‘Mogwai Fear Satan’. A near 11-minute extravaganza of everything Mogwai do exceptionally well. A literal musical hurricane that moves across the Earth, causing the seas to become ferocious and invade land, wildlife to be besieged by devastating weather effects, winds of immeasurable strength and a storm that continues to bombard and demolish everything in its path. Mysteriously this barrage eases and a serenity of rapture takes over, but it is only for a short time, the “eye of the storm” essentially. It eventually reignites and the calamity and chaos continue, escalating until a breaking point. 

Then darkness.

Then light. 

They clashed and bounced off each other, then they combined into a mesmerising musical adventure.

That is Mogwai’s music.