The forefathers of post-rock are back, proving, once again, why they’re the torchbearers of experimental rock.

Since the early 90s, Mogwai has been leading the charge of instrumental rock music, but, as the albums name, “Rave Tapes,” implies, the band are not content sticking to their tried and true tricks.

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While Mogwai is no stanger to incorporating electronic elements into their lush, guitar-driven soundscapes, “Rave Tapes” finds the band leaning far more heavily on synths and digital processing.

For example, that bass drop on “Remurdered” might be more at home in a dubstep song if not for the overdriven guitar chords nestled beneath it. Similarly, the vocals – so autotuned their unintelligible – on lead single “The Lord Is Out Of Control” are eerily similar to some of Kanye West’s production on “Yeezus.”

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Elsewhere on the album, the band employs vocals in a way that aren’t typical of a Mogwai album. Sure, there’s some found-sound dialogue, like the “Stairway to Heaven” analysis by Reverend Lee Cohen on “Repelish,” that shows up from time to time on Mogwai records. However, “Blues Hour,” with it’s gorgeous piano melody, finds the band featuring lead vocals up front in the mix. Though this anomaly is more of a nod to Slint, one of Mogwai’s biggest influences and another post-rock pioneer, than anything drastically new.

Still, while Mogwai are showing they’re as adventurous as ever, there’s still plenty of tracks on “Rave Tapes”  that still fit nicely into the post-rock mold. “Hexon Bogon” has ample amounts of delay-drenched, distorted guitars, driving bass, and noisy sonic explorations.

“Rave Tapes” is sure to give post-rock fans plenty of ear candy upon it’s Jan. 20 release. And, given the albums extensive use of electro elements, it may gain a little market share with EDM fans. Regardless, it’s another stellar album in Mogwai’s expansive catalogue.