Same same but slightly different and as great as ever

Mogwai sounded ever so much like Mogwai. Their debut "Young Team" [1997] was relatively inhomogeneous compared to for example "Rock Action" [2001]; "Come On Die Young" [1999], had a couple of lengths and a striking little Wall-Of-Noise-share; "The Hawk Is Howling" [2008] was the only Mogwai-board on which there were no vocals. But on the whole, people knew what an expected when a new Mogwai album was in the house: The main focus instrumental music with electric guitar, keyboards and drums; simple compositional means that increasingly even cited in the course of growing oeuvres without that Mogwai fans also disrupted off in the least; Pieces whose length to 95% burst regular pop formats; the maximum exploration of the parameter "loud", "quiet", "sweet" and "ultra brutal". In addition there was sporadic vocals, either as sensitive breathed by Stuart Braithwaite on the to-on-the-knee-drop beautiful "Take Me Somewhere Nice" or sung by alienation devices. That's it really.
"Hardcore Will Never Die, But You Will" - that is a typical Mogwai album title: More or less tongue-in-cheek, but gains in relation to Mogwai powerful music something terrifying. The plate that is so, does not break completely with the familiar, but one can say: it is much better able to help but so far other Mogwai plates were different from other Mogwai plates. It is more compact. The dynamics no longer falls into the abyss (or .: You no longer rises up to heaven.), Instead there are many pieces to a consistently high level, only interrupted by 1-2 breathers, a relatively thick wall-of-sound, just as you would for example in "Glasgow Mega Snake", the hit of the 2006 "Mr. Beast" liked. Only the last track, the more than 8-minute "You're Lionel Richie" is all about in the previous Mogwai tradition. "Letters to the Metro" also suggests yet in this direction, but most goes one step further; and whose name is on this record mainly: speed. Mogwai were always slow, often below 80bpm. "Mexican Grand Prix", the now fastest Mogwai-piece of all time, on the other hand is easy at 150bpm, so fluffigem Uptempo, as happens in many indie rock songs. That's pretty fast for Mogwai ratios, smooth 2x as fast as some earlier pieces. "San Pedro" marches little later in lush midtempo and has minor-heavy single-note riffs. Had so far also have not heard of Mogwai. One waits in the face of an impression of rock orthodoxy on singing, but of course comes not. Never sounded Martin Bulloch Drums so muscular and gaudy (Elsewhere he wobbles again a bit, as he has always done). And equipped with vocoder "George Square Thatcher Death Party" is the first Mogwai-piece to which you can say (with theoretical italic print, security) "anthem". At these innovations one must naturally first used. It is clear that despite angetretenem accelerator soon the old Mogwai-state-of-mind ceases to be this mixture of melancholy, destruction, tenderness, triumph and the feeling, at least 50 meters high roller of tarnished silver. One should not be too sure it musically from now continues. Just as well they could be next again a plate in the form of "Happy Songs For Happy People" [2003], make. Until then you have what now feels like irritation, long handles and "Hardcore Will Never Die, But You Will" asked the other, great Mogwai plates.