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Mogwai ≡ A Wrenched Virile Lore (2012)

 Mogwai ≡ A Wrenched Virile Lore (2012)

Mogwai — A Wrenched Virile Lore 
Formed: 1995
Location: Glasgow, Scotland
Album release: November 19 (UK/World), December 4 (US), 2012
Record Label: Sub Pop
Duration:     65:19
01. George Square Thatcher Death Party (Justin K. Broadrick Reshape) 5:07
02. Rano Pano (Mogwai Is My Dick RMX By Klad Hest)     7:21
03. White Noise (EVP Mix By Cylob)     5:13
04. How To Be A Werewolf (Xander Harris Remix)     6:52
05. Letters To The Metro (Zombi Remix)     7:22
06. Mexican Grand Prix (Reworked By RM Hubbert)     4:35
07. Rano Pano (Tim Hecker Remix)     4:44
08. San Pedro (The Soft Moon Remix)     3:52
09. Too Raging To Cheers (Umberto Remix)     6:30
10. La Mort Blanche (Robert Hampson Remix)     13:43
Mogwai - production
Stuart Braithwaite – guitar, vocals (1995–present)
Dominic Aitchison – bass, guitar (1995–present)
Martin Bulloch – drums (1995–present)
John Cummings – guitar, laptop (1995–present)
Barry Burns – guitar, bass, keyboards, synthesizer, flute, vocals (1998–present)
Brendan O'Hare – keyboards, guitar (1997)
Occasional contributor and touring member:
Luke Sutherland - violin, guitar, vocals (1998–present)
¶  A Wrenched Virile Lore is a collection of remixes of tracks from Mogwai’s critically acclaimed Hardcore Will Never Die, But You Will album. Featuring contributions from a diverse range of artists from Zombi to The Soft Moon, this record offers some unique and inspired interpretations of Mogwai’s seventh studio album.
¶  The A Wrenched Virile Lore album will be available in the following formats: as a limited-edition, colored 2xLP (with digital download code) on Black Friday, November 23 and on CD and digitally on December 4. The album will also be available in Europe via Rock Action on November 19.
By Stuart Berman; November 27, 2012 / Rating: 7.0  (http://pitchfork.com)
¶  Mogwai made their name on a simple formula: be very quiet, and then, without warning, be sadistically loud. But very early on, the group showed they weren't especially precious about their practice. Their 1997 full-length debut, Young Team, was quickly followed by Kicking a Dead Pig, wherein Young Team's tracks were subjected to sonic surgery by a cast of noted studio scientists that included Kevin Shields, Alec Empire, and µ-Ziq. At the time, it hardly seemed odd that the most undanceable band in all of Scotland would welcome the opportunity for a beat-based rethink. After all, in the wake of the late-90s electronica boom, remix albums had effectively replaced live albums as the default cash-cow-milking measure for rock bands (as acknowledged by the collection's piss-take of a title), and the ample negative space in the band's music presents producers with a large canvass to color in. But despite its impressive cast and elaborate double-CD presentation, Dead Pig ultimately sounded like random attempts at applying Mogwai's metallic noise to the darker strains of electronic music of the era (drill and bass, digital hardcore), to the point of using its entire second disc to determine who could produce the most gonzo version of the band’s epic signature track "Mogwai Fear Satan". (Shields' titanic take won in a landslide.)
¶  Fourteen years later, the band's second remix album, A Wrenched Virile Lore, arrives as a more cohesive work, presenting a cerebral, alternate-universe reimgination of Mogwai's 2011 release, Hardcore Will Never Die But You Will. Despite its severe title, Hardcore counts as the band’s most blissful and texturally rich to date. Hardcore's sound provides producers with more jumping-off points than the band's mountainous art-rock would normally allow. If Kicking a Dead Pig was mostly about giving Mogwai's atomic guitar eruptions a mechanized makeover, A Wrenched Virile Lore repositions the songs' central melodies in more splendorous surroundings. In the hands of Justin K. Broadrick, the post-punky krautrock of "George Square Thatcher Death Party" becomes the sort of gently ascendant, anthemic opener that you could imagine blaring out of a stadium to kick-off an Olympics ceremony; Pittsburgh prog-rockers Zombi hear the mournful piano refrain of "Letters to the Metro" as the basis for a glorious, strobe-lit Trans Europe Express flashback. Or in some cases, the material is stripped down to its essence: Glaswegian troubador R.M. Hubbert re-routes the motorik pulse of "Mexican Grand Prix" off the speedway into the backwoods and transforms it into a hushed, Jose Gonzalez-like acoustic hymn, while San Fran neo-goth upstarts the Soft Moon scuff away the surface sheen of "San Pedro" to expose the seething menace lurking underneath. However, there are limits to this approach: Umberto's distended, ambient distillation of "Too Raging to Cheers" simmers down this already serene track to the point of rendering it inconsequential.
¶  Like Hardcore, A Wrenched Virile Lore features 10 tracks, though it only references eight of the originals. However, even the mixes that draw from the same songs are different enough in approach and sequenced in such a way that the reappearances feel like purposeful reprises: Klad Hest's drum and bass-rattled redux of "Rano Pano" finds its sobering aftershock in Tim Hecker's haunted and damaged revision, while Cylob's cloying synth-pop take on Hardcore's opener "White Noise"-- which fills in the original's instrumental melody with lyrics sung through a vocoder-- is redeemed by UK composer Robert Hampson's 13-minute soft-focus dissolve of the same track. Renamed "La Mort Blanche", its appearance provides both a full-circle completion of this record (by book-ending it with mixes by former Godflesh members) while serving as a re-entry point back into Hardcore by reintroducing the source song's main motifs and widescreen vantage. But more than just inspire a renewed appreciation for Hardcore, A Wrenched Virile Lore potentially provides Mogwai with new avenues to explore now that they're well into their second decade, and perhaps instill a greater confidence in the idea that their identity can remain intact even in the absence of their usual skull-crushing squall.
Dominic Aitchinson:
Birth name: Dominic Aitchison
Born: 11 October 1976
Origin: Balfron, Stirlingshire, Scotland
Notable instruments:
Rickenbacker 4003
Fender Jazz Bass
Music Man Sabre
¶  Aitchison studied Graphic Design at The Glasgow College of Building and Printing, which is now part of Glasgow Metropolitan College.
Website: www.mogwai.co.uk ; www.crippledblackphoenix.com
Stuart Braithwaite:
Birth name: Stuart Leslie Braithwaite
Also known as: pLasmatroN
Born: 10 May 1976
Origin: Dalserf, South Lanarkshire, Scotland
Notable instruments:
Fender Telecaster Standard
Gibson Les Paul Deluxe
¶  Braithwaite's musical technique is characterized by the heavy usage of effects pedals, used to create ambient instrumental guitar sounds. As with much music associated with the post-rock style, his playing emphasizes melody and dynamic contrast over virtuosity.
Martin Bulloch:
Birth name: Martin Bulloch
Born: 14 August 1974 in Bellshill, South Lanarkshire
Origin: Blantyre, South Lanarkshire, Scotland
¶  Martin has also drummed for Arab Strap at some gigs.
--------------------------------------------------------------------Barry Burns - Instruments: Guitar, bass, keyboards, drums, flute, synthesizer, sampler, violin, vocals
Barry Burns:
Birth name: Barry Burns
Origin: Glasgow, Scotland
Instruments: Guitar, bass, keyboards, drums, flute, synthesizer, sampler, violin, vocals
¶  Burns contributed piano, and organ to the Arab Strap's albums, Elephant Shoe, The Red Thread, Monday at the Hug and Pint, and The Last Romance. He contributed piano, organ, rhodes, and vocals to Malcolm Middleton's albums, 5:14 Fluoxytine Seagull Alcohol John Nicotine, Into The Woods, A Brighter Beat and Sleight of Heart. He has also played keyboards on the 2009 album "Prevention" by Scottish band De Rosa. He often plays DJ sets, often alongside fellow band member Stuart Braithwaite. ¶  Along with wife Rachel, Burns owns the bar Das Gift in the Neukölln district of Berlin. (Interview with BB: http://www.inmusicwetrust.com/articles/39h04.html)Barry Burns - Instruments: Guitar, bass, keyboards, drums, flute, synthesizer, sampler, violin, vocals
John Cummings:
Birth name: John Cummings
Origin: Glasgow, Scotland
Instruments: guitar
¶  Throughout his time in Mogwai, Cummings has mainly used various models of the Fender Telecaster Custom and Gibson SG, often using irregular tunings.
Effects pedals:
Boss OS-2 Overdrive/Distortion (2)
Boss ODB-3 Bass Overdrive
Boss TR-2 Tremolo
Boss TU-2 Chromatic Tuner
Electro-Harmonix HOG (2)
Electro-Harmonix Holy Stain
Electro-Harmonix Stereo Memory Man With Hazarai
Jim Dunlop Uni-Vibe
MXR Carbon Copy Delay
MXR Kerry King 10 Band EQ (2)
T-Rex Dr Swamp Distortion/Overdrive
¶  Cummings produced Part Chimp's albums Chart Pimp and I Am Come, the Errors EP How Clean is your Acid House?, The Magnificents album Year of Explorers, Trout's Norma Jean EP and Street Horrrsing by Fuck Buttons.
¶  He also contributed guitar to The Zephyrs' 2004 album, A Year to the Day.

Mogwai: Website / Twitter / Facebook / Sub Pop Artist Page 
MySpace: http://www.myspace.com/mogwai#!File:Mogwailive.jpg

Mogwai ≡ A Wrenched Virile Lore (2012)




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