Since forming in 1995, Glasgow quintet Mogwai have made arresting guitar music that defies categorization. Hardcore fans insist that they've stolen the crown Sonic Youth and My Bloody Valentine once wore whilst critics of the band dismiss them as a second rate Godspeed You Black Emperor!. Mogwai themselves probably couldn't give a shit either way, they're too busy composing songs, hatching practical jokes (remember their 'Blur: Are Shite' T-shirts?) and touring the world. PLAYLOUDER caught up with singer and guitarist Stuart Braithwaite to discuss rock music in its various guises.

PlayLouder: How did the show in Reykjavik go and why did you decide to start the tour there?

Stuart: The reason we decided to play Reykjavik is because we'd never been there before and we all wanted to go (laughs). It was such a beautiful place and the people were really nice and appreciative of our music. At home everybody talks through the quiet parts, but in Reykjavik they were really silent and restrained. Did we enjoy playing? Yeah, we had a good time and the new songs seemed to go down well. We also managed to fit in two outdoor spas which were amazing. I wish I could have one now, I'm sure it would help my hangover!

P: The tour coincides with the release of your third studio album 'Rock Action'. How does it differ from earlier masterpieces like 'Mogwai Young Team' and 'Come On Die Young'?

S: It's shorter, it's got more singing and more instrumentation. There's everything from violins and cellos to banjos, trumpets and trombones. It also has more songs in a major key as opposed to a minor key. Personally, I think it sounds quite a sad record, but everyone else thinks it sounds more upbeat!

P: The first thing that struck me whilst listening to 'Rock Action' is what a tight and concise record it is: every single sound seems considered and perfectly executed. Was it a conscious decision to make it a shorter album than the others?

S: Yeah, very much so. We knew people would be expecting us to make another long, drawn out record and we were determined to do something different. We're also quite big fans of short but powerful records.

P: Is the title 'Rock Action' a reference to your early declaration that "A lot of people make art-rock but forget to actually rock - we're a rock'n'roll band that avoids rock'n'roll cliches"?

S: Not really, though we are still desperately trying to avoid cliches and make great rock music... I think it's quite a contradictory title myself because it doesn't really have any significant symbolism and it's probably our least rock-based album so far. So why did we chose it? We couldn't think of anything else, and it was the name of the label that we put our first ever single ('Turner / Lower') out on. It also looks good on a badge!

P: What was it like being holed up in the big apple with Flaming Lips producer Dave Fridmann?

S: It was great at the beginning, but we get bored easily and it did begin to drag. A lot of people presume that we were staying smack in the middle of Manhattan or SoHo, but Dave's studio was in upstate New York, in the middle of nowhere. It was all wild dogs and snakes... there was nowhere to go out! Luckily, I have a lot of friends in the city that I visited in-between sessions. I love New York and I did quite seriously think about moving there a few months ago, but I live with a girl in Edinburgh now and it would be a big hassle to move everything.

P: How did Gruff Rhys come to collaborate with you on 'Dial: Revenge' and will he be joining you on tour?

S: No, no, no. We'd like Gruff to join us for the whole tour, but unfortunately the Super Furrys are getting ready to release their own record so he's gonna be too busy. He might put in a surprise appearance at one of the shows, but I don't actually know which one yet... The reason we got Gruff to sing on that particular track was because we knew when we finished it that my singing wouldn't really suit it. It needed someone with a more Bowie-esque voice and Gruff seemed a good option.

P: You seem a lot more confident with your singing on 'Take Me Somewhere' and 'Secret Pint'. Any chance you'll be cashing in on NAM and doing an acoustic side project?

S: Definitely not (laughs). Dominic has banned me from taking the banjo on tour with us because he says we'll look like Spinal Tap! As for the whole NAM scene, I don't think it actually exists and I don't like any of the bands linked to it. It might sound like a Mojo attitude, but you'd have to show me a band as brilliant as Nick Drake before convincing me there was any new kind of talent around. Until then, I'll stick with the old acoustic movement and bands like Low, Bonnie 'Prince' Billy and Smog.

P: Is it a popular misconception that experimental groups only listen to musique concrete, Krautrock and early minimalism?

S: Yeah, I think people often read too much into our records and imagine we spend months painstakingly analyzing every single tone and texture. The truth is, we don't preconceive anything, we just shamble along and get stuck in!

P: What were you listening to whilst composing 'Rock Action'?

S: Leonard Cohen's 'Songs From A Room', Bob Dylan's 'Desire' and N.W.A's 'Straight Outta Compton'. Three great, timeless albums.

P: One of the highlights of last year's All Tomorrow Parties was your 20 minute interpretation of the Jewish hymn 'My Father, My King'. What was it like working with legendary producer Arthur Baker?

S: It was great, I really enjoyed it actually, though I don't think the finished song sounded that good. I know a lot of people are fans of Arthur through his work with New Order, but we're more drawn to his early hip hop and electro stuff like ESG. He's a really nice guy and he's got a good ear. The people at his studio are also really nice; one of them went out and got me a cheeseburger. That would never happen in Glasgow!