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Scotland's Mogwai anchored the blissful, impressionistic ambience of Young Team (1997) to atmospheric guitar sounds, ranging from celestial drones to hellish walls of distortions. Removing the impetus of that work, Come On Die Young (1999) revisited the desolate soundscapes of "slo-core", music that wandered, drifted, diluted itself into myriad variations of its own theme. The slowly-unfolding ballads of The Rock Action (2001) and the carefully orchestrated, organic, rational sonatas of Happy Songs For Happy People (2003) were practical applications of that theory.Mogwai, formed in Glasgow around 1995, played (mostly) instrumental music. Guitarists Stuart Braithwaite and John Cummings (also on piano), drummer Martin Bulloch and bassist Dominic Aitchisin anchored their sound on atmospheric guitar sounds, ranging from celestial drones to hellish walls of distortions. 苏格兰的Mogwai将Young Team（1997）的幸福印象派氛围与大气的吉他声音相结合，从天体无人机到地狱般的扭曲墙。除去该作品的动力，Come On Die Young（1999）重新审视了“慢核”的荒凉音景，音乐徘徊，漂移，稀释自己成为自己主题的无数变化。《摇滚行动》（2001）缓慢展开的民谣和《快乐的人的快乐之歌》（2003）精心编排、有机、理性的奏鸣曲是该理论的实际应用。Mogwai于1995年左右在格拉斯哥成立，演奏（大部分）器乐。吉他手Stuart Braithwaite和John Cummings（也是钢琴手），鼓手Martin Bulloch和贝斯手Dominic Aitchisin将他们的声音锚定在大气的吉他声音上，从天体无人机到地狱般的失真墙。

The early singles, the immature Tuner (Rock Action, 1996), a whispered lullay smothered in languid instrumental tones, Summer (Love Train, 1996) and New Paths To Helicon (Wurlitzer Jukebox, 1997), later collected on Ten Rapid (Jetset, 1997), revealed a band intent upon revisiting the "slo-core" and the desolate soundscapes of Slint, Codeine and Low, albeit with the intellectual and modernistic praxis of a Brian Eno. Their blissful, impressionistic ambience, seasoned with weird Pixies-ian guitar intros, is particularly effective in Summer (that alternates between tinkling xylophone melody and guitar fury), Angels vs Aliens (a maelstrom of guitar and keyboard noises), and Helicon 1 (a majestic melody played a` la Jimi Hendrix on distorted guitar notes). 早期的单曲，不成熟的调音器（Rock Action，1996），一个低声的摇篮曲，用慵懒的器乐音调窒息，夏天（爱情列车，1996）和新路径到Helicon（Wurlitzer点唱机，1997），后来收集在Ten Rapid（Jetset，1997），揭示了一个乐队打算重新审视“慢核”和Slint，Codeine和Low的荒凉音景，尽管具有Brian Eno的知识和现代主义实践。他们幸福的印象派氛围，加上奇怪的小精灵吉他前奏，在夏天（在叮叮当当的木琴旋律和吉他狂怒之间交替）、天使与外星人（吉他和键盘噪音的漩涡）和 Helicon 1（在扭曲的吉他音符上演奏吉米亨德里克斯的雄伟旋律）特别有效。

The three-song EP 4 Satin (Chemikal Underground, 1997 - Jetset, 1998) announced a mature band of mature ambitions. 三首歌曲EP 4 Satin（Chemikal Underground，1997 - Jetset，1998）宣布了一支成熟的乐队成熟野心。

(Translation by Walter Consonni/ Tradotto da Walter Consonni) I Mogwai sono un quartetto scozzese, formatosi attorno al 1995, che si dedica (prevalentemente) alla musica strumentale. I chitarristi Stuart Braithwaite e John Cummings (anche pianista), il batterista Martin Bulloch ed il bassista Dominic Aitchisin legano il loro sound ad atmosferici suoni chitarristici, passando da celestiali suoni di cornamuse ad infernali muri di distorsioni. （Walter Consonni 翻译 / Walter Consonni 翻译）Mogwai是苏格兰四重奏，成立于1995年左右，主要致力于器乐。吉他手Stuart Braithwaite和John Cummings（也是钢琴家），鼓手Martin Bulloch和贝斯手Dominic Aitchisin将他们的声音与大气的吉他声音联系起来，从天体风笛的声音转移到地狱般的失真墙。

I primi singoli, Tuner (Rock Action, 1996), Summer (Love Train, 1996) e New Paths To Helicon (Wurlitzer Jukebox, 1997), successivamente raccolti su Ten Rapid (Jetset, 1997), hanno svelato l'intento della band di rivistare i paesaggi sonori "slo-core" e desolati di Slint, Codeine e Low con la prassi intellettuale e modernista di un Brian Eno. La loro atmosfera gioiosa ed impressionista, condita con magiche introduzioni chitarristiche alla Pixies, è particolarmente efficace in Summer, Angels vs. Aliens e New Paths to Helicon 1. 第一首单曲，Tuner（Rock Action，1996），Summer（Love Train，1996）和New Path To Helicon（Wurlitzer Jukebox，1997），后来收集在Ten Rapid（Jetset，1997）上，揭示了乐队打算用Brian Eno的知识和现代主义实践重新审视Slint，Codeine和Low的“慢核”和荒凉的音景。他们欢乐和印象派的气氛，加上神奇的吉他介绍小精灵，在夏天特别有效，天使与小精灵。外星人和通往赫利康的新道路 1.

L'EP di tre brani 4 Satin (Chemikal Underground, 1997) (Jetset, 1998) ha presentato una band matura e con ambizioni adulte. 三轨EP 4 Satin （Chemikal Underground， 1997） （Jetset， 1998）以一支成熟的乐队为特色，有成年人的野心。

With drummer Brendon O'Hare (of Teenage Funclub and Telstar Ponies fame) replacing Bulloch, and the addition of new member Barry Burns (flute, keyboards), Mogwai recorded their proper debut album, Young Team (Chemikal Underground, 1997), an even more experimental work that is heavily influenced by the "shoegazer" legacy and by the space-rock suites of Bardo Pond, as announced by the second half of opener Yes I Am A Long Way From Home, a psychedelic raga in diguise. 鼓手Brendon O'Hare（Teenage Funclub和Telstar Ponies成名）取代了Bulloch，新成员Barry Burns（长笛，键盘），Mogwai录制了他们的首张专辑Young Team（Chemikal Underground，1997），这是一部更具实验性的作品，深受“shoegazer”遗产和Bardo Pond太空摇滚套件的影响，正如揭幕战下半场宣布的那样 是的，我离家很远， 伪装的迷幻拉加。 The album's highlights are the two lenghty tracks. The twelve-minute Like Herod, dedicated to their idols Slint, begins with insecure plucking and strumming that suddenly erupts in a spasmodic sequence of monster riffs. The idea is repeated one more time before the music is left to die slowly. The 16-minute Fear Satan takes off right away with roaring distorted guitars that lead a wild post-psychedelic freak-out. After ten minutes the clamor decays into a swampy flute-driven lattice of mystery and suspence, Unlike their progressive-rock forefathers, Mogwai prefers sudden reversals of mood rather than gradual metamorphoses. 这张专辑的亮点是两首长曲目。献给他们的偶像斯林特的十二分钟《像希律王》以不安全的弹拨和弹奏开始，突然爆发出一系列痉挛的怪物即兴演奏。这个想法在音乐慢慢消失之前再重复一次。16分钟的恐惧撒旦立即起飞，咆哮的失真吉他引领着狂野的后迷幻怪胎。十分钟后，喧嚣声变成了沼泽般的长笛驱动的神秘和悬念的格子，与他们的进步摇滚祖先不同，Mogwai更喜欢情绪的突然逆转而不是逐渐的。 The layered orchestration of Katrien is designed to achieve maximum psychological impact. With Portfolio pushes the envelope of the quiet/violent dichotomy by devastating a simple limping piano figure with a harsh wall of noise (that would remain one of the band's rare ventures into dissonance). 卡特里安的分层编排旨在实现最大的心理冲击。With Portfolio突破了安静/暴力二分法的极限，用刺耳的噪音墙摧毁了一个简单的跛行钢琴人物（这仍然是乐队罕见的不和谐冒险之一）。 The melancholy detachment of R U Still In 2 It is obtained by blending together three strands of alienation: the tender folkish guitar notes, the funereal piano figures the guest vocalist's eerie spoken words. If the violence of their sudden outbursts points to neurosis, and the mood of the linear pieces hints at to manic depression, the glacial hypnosis of Tracy raises hopes of a forthcoming catharsis. R U Still In 2的忧郁超脱是通过将三股异化混合在一起而获得的：温柔的民谣吉他音符，葬礼钢琴描绘了客座歌手令人毛骨悚然的口语。如果说他们突然爆发的暴力指向神经症，而线性片段的情绪暗示着躁狂抑郁症，那么特雷西的冰川催眠则为即将到来的宣泄带来了希望。

Brendon O'Hare is also the leader of Macrocosmica, a quartet whose seven-song debut album, Ad Astra (God Bless, 1997), draws inspiration from Fugazi's twisted hardcore, from Big Black's atonal neurosis, and from Girls Vs Boys' elegant claustrophobia for the abrasive riffs and angular rhythms of Rusty's Arms and A Horse Can Walk. The angry shout and granitic riff of Lamotta sound amateurish but already impressive, and the terrifying hailstorm of beats and distortions Orbit 48 delivers what the other songs promised. On the other hand, the six-minute psychedelic languor of I Am The Spaceship Digitalis mimicks June Of 44's Of Information And Belief. A derivative effort, but nonetheless rewarding. Brendon O'Hare也是Macrocosmica的领导者，Macrocosmica是一个四重奏，其七首歌曲的首张专辑Ad Astra（上帝保佑，1997）从Fugazi扭曲的硬核，Big Black的无调性神经症以及Girls Vs Boys优雅的幽闭恐惧症中汲取灵感，用于Rusty's Arms和A Horse Can Walk的磨人即兴演奏和棱角分明的节奏。拉莫塔愤怒的呐喊和花岗岩即兴演奏听起来很业余，但已经令人印象深刻，而可怕的节拍和失真的冰雹 Orbit 48 提供了其他歌曲所承诺的。另一方面，《我是洋地黄号宇宙飞船》的六分钟迷幻慵懒模仿了 44 年的 6 月信息和信仰。一种衍生的努力，但仍然有回报。

The four-song EP Space Geek (God Bless, 1998) presents a more relaxed and accessible take on that virulent strain of post-punk. 四首歌曲的EP Space Geek（上帝保佑，1998）对后朋克的恶毒风格进行了更轻松和易于理解的演绎。

The ubiquitous Brendon O'Hare also runs Fiend, a band created specifically to publish a trilogy of concept albums: Caledonian Gothic (God Bless, 1997), a claustrophobic and letargic ambient work inspired by Amon Duul, Caledonian Cosmic (God Bless, 1998), a work inspired by the cosmic riders of the 1970s (Paranoic Timeslip, The Birthplace Of Star), and Caledonian Mystic (God Bless, 1998), a more accessible collection of instrumentals (the 16-minute Forgotten Sea) and songs. O'Hare weaves less structured pieces that occasionally recall the heydays of psychedelic music. 无处不在的布伦登·奥黑尔（Brendon O'Hare）还经营着Fiend，这是一个专门为出版概念专辑三部曲而创建的乐队：喀里多尼亚哥特式（上帝保佑，1997年），受阿蒙·杜尔（Amon Duul）启发的幽闭恐惧症和休闲环境作品，喀里多尼亚宇宙（上帝保佑，1998年），灵感来自1970年代的宇宙骑士（偏执的时间滑移，星的诞生地）和喀里多尼亚神秘主义者（上帝保佑， 1998），一个更容易获得的器乐集（16分钟的遗忘之海）和歌曲。奥黑尔编织了结构不那么结构化的作品，偶尔会让人想起迷幻音乐的鼎盛时期。

(Translation by / Tradotto da Walter Consonni) （翻译：Walter Consonni）

Con il batterista Brendon O'Hare (già famoso con i Teenage Funclub) al posto di Bulloch, e con l'aggiunta del nuovo membro Barry Burns (flauto, tastiere), i Mogwai hanno poi realizzato il loro vero e proprio album d'esordio, Young Team (Jetset, 1997 - Chemikal Underground, 1997), un lavoro persino più sperimentale che si presenta pesantemente influenzato dal retaggio degli "shoegazer" e dalle suites space-rock dei Bardo Pond. 隨著鼓手Brendon O'Hare（以前以Teenage Funclub出名）取代Bulloch，並加入新成員Barry Burns（長笛，鍵盤），Mogwai發行了他們的首張專輯Young Team（Jetset，1997 - Chemikal Underground，1997），這是一首更具意義的作品，深受“shoegazer”遺產和Bardo Pond太空搖滾套件的影響。 L'apice dell'album sono due lunghi brani, Fear Satan (sedici minuti), un capolavoro di suoni delicati ed una metamorfosi graduale verso magie evocanti mistero e suspence, e Like Herod, dedicata ai loro idoli Slint. 这张专辑的高潮是两首长歌，《恐惧撒旦》（十六分钟），一首精致声音的杰作，逐渐向魔术蜕变，唤起神秘和悬念，以及像希律一样，献给他们的偶像斯林特。 La dinamica e la stumentazione di Katrien e R U Still In 2 It ipnotizzano, l'orchestrazione stratificata del primo raggiunge il massimo impatto psicologico, le figure di piano ed i gemiti ultraterreni del cantato del secondo riportano al periodo di maggior splendore del dark-punk. 卡特里安和R U Still In 2的动态和乐器催眠，前者的分层编排达到了最大的心理冲击力，后者歌声的钢琴人物和超凡脱俗的呻吟带回了黑暗朋克的鼎盛时期。 L'ipnosi glaciale di brani come With Portfolio, Radar Maker, Tracy completa la loro arte della catarsi. 像Portfolio，Radar Maker，Tracy这样的歌曲的冰川催眠完成了他们的宣泄艺术。 Il contributo di O'Hare non e` trascurabile: aveva gia` dimostrato con i Telstar Ponies la sua passione per il rock tedesco degli anni '70. 奥黑尔的贡献不容忽视：他已经与Telstar Ponies一起展示了他对70年代德国摇滚的热情。

With O'Hare working only part-time (he has a parallel project called Macrocosmica), there followed two remix albums, Kicking A Dead Pig (Eye-Q,1998) and Fear Satan Remixes (Eye-Q, 1998), and the EP No Education=No Future (Chemikal Underground, 1998) 由于奥黑尔只是兼职工作（他有一个名为Macrocosmica的平行项目），随后有两张混音专辑，Kicking A Dead Pig（Eye-Q，1998）和Fear Satan混音（Eye-Q，1998），以及EP No Education=No Future （Chemikal Underground，1998）。

Mogwai's proper second album, Come On Die Young (Matador, 1999), also known as CODY, is a partial disappointment, as the impetus of the early music is mostly mute. Mogwai coins a format that works both as experimental compositions and as light entertainment. Mogwai的第二张专辑，Come On Die Young（斗牛士，1999），也被称为CODY，部分令人失望，因为早期音乐的动力大多是沉默的。Mogwai创造了一种既可以作为实验性作品又可以作为轻娱乐的形式。 However, their compositions rarely coalesce into a tight, focused song. Mogwai's music likes to wander, to drift, to dilute itself into myriad variations of its own theme. It is an art of small gestures, like the melodic guitar phrase woven around the psychedelic crescendo of Year 2000 Non-compliant Cardia, 然而，他们的作品很少合并成一首紧凑、专注的歌曲。Mogwai的音乐喜欢徘徊，漂流，将自己稀释成自己主题的无数变化。这是一种小手势的艺术，就像围绕 2000 年不合规的 Cardia 的迷幻渐强编织的旋律吉他短语， It is also an art of what does not happen. Kappa is the musical equivalent of sexual impotence: the instruments prepare the climax for the melody to erupt, but instead the music restrains itself and the melody barely dusts itself off. All the noisy introduction, the piano lullaby, the martial drumming of the 9-minute Chocky do not lead anywhere. 这也是一门不会发生的事情的艺术。Kappa在音乐上相当于性阳痿：乐器为旋律爆发准备了高潮，但相反，音乐克制自己，旋律几乎没有尘埃落定。所有嘈杂的介绍，钢琴摇篮曲，9分钟Cocky的武术鼓声都没有导致任何地方。 The magical balance of Helps Both Ways may represent the band's method better than anything else: the limping blues and the Salvation-Army fanfare that propel it are so undermined by the execution that one hardly waits for anything to happen anymore. Music is just this unfinished business, this eternally floating atmosphere in which you mostly wait for something that you know will never happen. Helps Two Ways的神奇平衡可能比其他任何东西都更能代表乐队的方法：跛行的蓝调和推动它的救世军大张旗鼓被执行破坏了，以至于人们几乎不再等待任何事情发生。音乐只是这种未完成的事业，这种永恒漂浮的氛围，在这种氛围中，你大多在等待你知道永远不会发生的事情。 A drawback is that, when the band doesn't find that magic balance, they tend to indulge in lengthy guitar-based minimalistic techniques bottowed from Sonic Youth: May Nothing But Happiness Come Through Your Door (on a solemn waltz), the 9-minute Ex-Cowboy (in sideral crescendo), the 10-minute Christmas Steps (from quiet to explosive). It is here that Mogwai betrays inexperience and clumsiness. 一个缺点是，当乐队没有找到那种神奇的平衡时，他们倾向于沉迷于冗长的基于吉他的极简主义技术，这些技巧来自Sonic Youth：May Nothing Only Happiness Come Through Your Door（在庄严的华尔兹上），9分钟的前牛仔（在侧边渐强），10分钟的圣诞步骤（从安静到爆炸）。正是在这里，莫格瓦伊暴露了经验不足和笨拙。 The only ballad, Cody, would be a stand-out on any country album. If they can make more of these, Mogwai may find their true voice in conventional songs rather than in extended instrumentals. 唯一的民谣，科迪，在任何乡村专辑中都会脱颖而出。如果他们能制作更多这样的歌曲，Mogwai可能会在传统歌曲中找到他们真正的声音，而不是在扩展的乐器中。