TLOBF Interview // Mogwai

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With the release of their first live album, and film, this week – the rather amazing Burning / Special Moves – what better time to catch up with Barry Burns of Mogwai. Currently in the studio recording their latest long-player, we fired off some questions about filming, choosing set-lists and what the future might hold.

Why did you decide to release a live album and movie now? Is it the end of a particular chapter in Mogwai’s life? Should we expect something different from your live shows from now on?!

It takes this band quite a long time to do lots of things. For example it took us about two albums to get to the 3rd chord, we embrace the way of the snail. It doesn’t signify anything in particular, just that we are much better live than we are on “proper” albums (in my opinion at least) so this is a good idea that finally came to pass.

What made you choose this specific gig for filming and how / why did you decide on Vincent Moon and Nataniel La Souanec as the guys to film it?

Actually, I don’t remember exactly why. The fact that we played 3 nights in the same place had a lot to do with it so that there was a lot of material to compile the album/film from. I had to wear the exact same clothes for 3 days in a row so it looked like one gig. It’s the most dishonest I’ve ever smelled.

Why did you include the scenes in and around New York? Did you want to move away from a strict “this is us live” film?

We actually just left the film makers to do their thing and we didn’t interfere with their ideas. This is us live, mostly.

Do you think you’ve managed to capture what it is to witness Mogwai live?

Yes, I really do. Though again, this is the film makers achievement and not ours. We just concentrated really hard to not mess up any songs.

On a more general level, how do you go about deciding a set list for each gig giving your great back catalogue? For the film, did you make the set list any more special?

Honestly, no one enjoys writing the set list because if it doesn’t flow well you tend to get a hard time from the band (not a real hard time, just a gentle slagging). For the film we had to make sure that songs we really think work best live were played on at least 2 of the 3 nights so we could use them on the release. No overdubs were allowed to we had to be good.

Is there any sense of boredom at still playing songs that are 12/13 years old?

Of course that eventually happens but you chop ad change it up as much as you can. The actual experience of playing to a crowd always beats the fact that you might be slightly bored by one or two of the songs on a given night.

Do you ever get tired of the “post-rock” label and “quietloudquiet” descriptions? How would you describe your sound?

Yes it’s annoying. We stopped the extreme quiet loud thing after album number 2 and now people hear us having plain old dynamics in a song and they go back to the quiet/loud description which is pretty lazy thinking. Post-rock is a the most spasticated label around. It’s instrumental music with guitars and pianos and noises. IMWGAPAN for short.

Do you have any regrets in your career so far?

Yes. But that will all come out in the book which I regret will never be written.

How’s the recording of the new album going? Any early hints of tracks, themes etc?

It’s going really well. This is the last day of all the drums going down so I will be very busy for the next 6 weeks from tomorrow. I have to say it’s not the most enjoyable part of being in a band for me. I can’t wait until it’s finished and I can go home to my wife in Germany.

Do you care about how your albums are received any more? Do you feel any pressure when recording?

It’s nice if folk like your work but any pressure felt is not to please others but to try and make the best record you can for yourself. I imagine that sounds quite selfish but if you don’t like your own songs then it’s time to quit.

What have you guys been listening to in the run up to the studio time?

Well, since the iPod has put a stop to hearing other people’s songs I can only say that personally I’ve been listening to lots of old French synth pop/cold wave, Arvo Pärt, Caribou, John Maus and also Fad Gadget.

And lastly, do you think the internet is harbinger of all evil, or something that’s amazing and needs to be embraced? What do you think about the mp3 revolution and the issues with albums being leaked on the internet, sometimes months before they’re officially available?

I spend far too much time on the internet actually. It’s a total drain on my brain and I am going to have to make up some self imposed restrictions!

Anyway, it’s annoying when the main culprits of early leaks are journalists and people who work in stock rooms in record distribution warehouse. They are irresponsible fools who need a good slap. But what can you do? Nothing yet.

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