Review: Yoo Doo Right's third album delivers a great blend of post-rock epics and emotionally charged sonic explorations. Opening with a droning guitar barrage, the album unfolds through mantra-like repetitions, abyssal tones and carefree saturation that all serve to cement their status as Montreal post-rock royalty. Inspired by themes of patience, art commodification, AI and unconditional love, this LP draws influence from Wes Montgomery, Rachmaninoff, Neurosis and Russian Circles and was written during a snowstorm retreat in early 2023 which meant the trio aimed for cinematic, experiential significance.
Cans & Brahms (extracts from Brahams 4th symphony in E minor third movement) (1:41)
We Have Heaven (1:37)
South Side Of The Sky (7:44)
Five Per Cent For Nothing (0:38)
Long Distance Runaround (6:09)
The Fish (Schindleria Praematurus) (2:58)
Mood For A Day (3:30)
Heart Of The Sunrise (7:43)
Review: Yes' magnum opus, Fragile. A cornerstone in the genre of prog rock, and arguably the instant go-to for anyone even so much as vaguely desiring a deeper peruse of the genre once they're done smelling Pink Floyd's farts. Full of proverbial lyrics and intriguing (not to mention masterfully mixed) instrumental choices - Rick Wakeman's keys are a highlight - the album cuts an overall clean and fantastical sound, usually oscillating between upbeat prog-funk ('Roundabout') and mathy ballads ('South Side Of The Sky'). Reissued directly from the horse's mouth, we can guarantee top-tier audio quality on this one.
Starship Trooper: Life Seeker/Disillusion/Wurm (3:58)
I've Seen All Good People: Your Move/All Good People (6:49)
A Venture (3:13)
Perpetual Change (8:52)
Review: Yes's breakthrough third album, The Yes Album, marked a critical juncture in the band's creative life and featured Steve Howe's debut - with the breathtaking 'Clap'. Released in February 1971, the album has stood the test of time, reaching high in the UK charts and the Top 40 in the US. Key to their success was producer Eddy Offord, who would go on to helm several of Yes's masterworks. Wilson's remixes 'spatialize' the album's tracks, opening up the instrumentation and reducing muddiness, so tracks like 'Yours Is No Disgrace'' and 'Starship Trooper' can truly showcase the band's tight musicianship, with each instrument standing out clearly. Jon Anderson's vocals on 'Your Move' soar above Tony Kaye's keyboards, highlighting the album's sheer beauty. Now available on beautiful sea blue vinyl, The Yes Album continues to captivate with its timeless sound.
Review: Yes are back with its second collection of singles release with yessingles2. Progressive rock, known for its complex compositions and fusion of jazz and classical elements, has always maintained a cult status, challenging mainstream tastes. The genre's elaborate, lengthy arrangements often clash with the commercial demands of record labels. As a result, studio engineers and producers frequently faced the task of trimming down ten minute epics into radio-friendly, four minute versions. For many new listeners, this serves as an accessible introduction to the world of prog rock. Yessingles 2, released as part of Rhino's Rocktober series, offers a collection of these radio-friendly edits from the legendary band Yes. While diehard fans might prefer the original, uncut versions, this compilation provides a convenient entry point for those looking to explore Yes's intricate soundscapes without committing to the full-length compositions. It's a nod to the balancing act between artistic integrity and commercial appeal that has defined progressive rock since its inception.
I've Seen All Good People: Your Move/All Good People
A Venture
Perpetual Change
Review: The Yes Album stands as a pivotal moment in the prog legends' career, marking their meteoric rise to fame. Released in 1971, this masterpiece showcases the band's exceptional musicianship and innovative sound. With Jon Anderson on vocals, Chris Squire on bass and vocals, Bill Bruford on drums, Tony Kaye on keyboards and the introduction of Steve Howe on guitars and vocals, it's a stunning display of progressive rock featuring classics like 'Yours Is No Disgrace,' 'Starship Trooper,' 'I've Seen All Good People,' and the hit single 'Your Move'. Tracks like Steve Howe's acoustic masterpiece 'Clap,' the collaborative effort 'Perpetual Change' and the fusion-inspired 'A Venture' further highlight the band's intricate compositions and dynamic performances.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Something's Coming (7:07)
Sweetness (mono edit) (3:47)
Looking Around (4:03)
Sweet Dreams (3:47)
Going For The One (3:22)
It Can Happen (4:11)
Rhythm Of Love (edit) (4:20)
Love Will Find A Way (4:10)
Make It Easy (long edit) (4:04)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Yes are back with its second collection of singles release with yessingles2. Progressive rock, known for its complex compositions and fusion of jazz and classical elements, has always maintained a cult status, challenging mainstream tastes. The genre's elaborate, lengthy arrangements often clash with the commercial demands of record labels. As a result, studio engineers and producers frequently faced the task of trimming down ten minute epics into radio-friendly, four minute versions. For many new listeners, this serves as an accessible introduction to the world of prog rock. Yessingles 2, released as part of Rhino's Rocktober series, offers a collection of these radio-friendly edits from the legendary band Yes. While diehard fans might prefer the original, uncut versions, this compilation provides a convenient entry point for those looking to explore Yes's intricate soundscapes without committing to the full-length compositions. It's a nod to the balancing act between artistic integrity and commercial appeal that has defined progressive rock since its inception.
Review: Steven Wilson's remix job injects new clarity into this iconic 1971 album, enhancing its already intricate compositions. The dynamic interplay of soaring vocals, textured guitar and Chris Squire's unmistakable bass lines feels revitalised, while Bill Bruford's drumming gains a sharp, articulate edge. The production balances the band's sprawling progressive rock vision with a modern, polished presentation, amplifying the complexity of the arrangements without losing their original charm. It's an experience that allows listeners to rediscover familiar layers while uncovering details previously buried in the mix.
Review: Interestingly, having reinvented themselves in the 80s with the help of Trevor Horn and various other members of the team, accidentally spawning the pioneering legends Art of Noise in the process, when we come to 2023, a trip back to their 70s heyday is more what the doctor ordered. With their guitarist Steve Howe at the production helm they are fancy technology-free, sounding as live as ever, and have restoered everything from the long songs - two of the 13 here top nine minutes - to the old logo and sci-fi artwork. They've even got a new Jon in to replace the old one. and Davidson does a good job of impersonating Anderson, apparently with the help of a female singer double tracking his vocals. You don't need a PhD to work out this is a nostalgic trip, but as attempts to relive former glories go we have heard a lot worse.
Review: Along with possibly King Crimson, there's few pioneering progressive rock acts today who still garner the same reverence, credence or demand a mention in any topical conversation as London-based legends Yes. The absurdly titled Yessingles (echoing the 1973 live album Yessongs) does precisely what it says on the tin with a first time ever vinyl compilation of the band's A-side singles, primarily collected from their third (real first) LP The Yes Album onwards, with choice cuts from Fragile, Close To The Edge, Relayer, Drama and more. Surely, the inclusion of iconic classics such as 'Roundabout' and 'Starship Trooper: Life Seeker', are worth the price of admission alone?
Review: Based in New York City, YHWH Nailgun (pronounced "Yahweh") are a newfound experimental noise-rock four-piece who have varied acceptance on what can be deemed "noise". Built around the ludicrous percussive ability of drummer Sam Pickard whose use of rototoms conjures an organic yet mechanistic pulse, warped and compressed guitars collide with an array of synths and electronic elements all infused with the suffocated, ranting, rambling, unhinged shrieking of vocalist Zack Borzone. Their debut full-length 45 Pounds bubbles with a similar art-noise sass-punk quality to very early HEALTH (before they rebooted as the industrial-metal trio they're known as today) yet attempting to still fit in with the likes of The Jesus Lizard or Chat Pile. They don't whatsoever, and they're all the better for it, as these unhinged 21 minutes condense saccharine, bubblegum machinery into some of the most frenetic compositions recorded all year. Just because it can only be described as "noise-rock" doesn't mean it necessarily sounds like noise-rock.
Review: Yo La Tengo release their understated, lonesome score to Kelly Reichardt's modern film classic 'Old Joy' (2006), a film dealing in lifestyle differences, drifting and reconciled friendship and the passage of time among other themes, Yo La Tengo's reflective soundtrack spans just six tracks and echoes Van Morrison in its full and embellished use of repetition, pockmarked by a slid-guitar, major-third-happy melancholia. Recorded in a single afternoon at Yo La Tengo's studio in Hoboken, this is a drifting, improvisatory journey, born out of years-long friendship between the band and the film's director.
Review: If there's anything Yo La Tengo have in spades, it's a superb music taste. This collection of outtakes and demos guides you through the inspired moments of creativity that they share. 'Cast A Shadow' covers K Records head honcho's group Beat Happening brilliantly. 'Speeding Motorcycle' goes one further - it has the actual Daniel Johnston featuring on it as well as being a cover. The latter came from his fifth self-released cassette tape, Yip/Jump Music. There's also a Ramones, Wire and John Cale cover. We think you get our point - astounding references. Of their own material, 'Sunsquashed' - a 26-minute jam that emphasizes their experimental and improvisational nature is a must. Free from the shackles of producing an album in the traditional sense, what you end up with is a fantastic and imaginative collection, which hammers home just how brilliant Yo La Tengo are for indie rock.
Review: This Stupid World is an album from Yo La Tenga that sounds more live than anything the band has done for a decade. It's their first new record in five years and was created top to bottom by the band itself, building on their strong foundations yet bringing plenty of fresh new ideas. All three band members are going for it throughout almost every moment of every track, so it has an urgent, of-the-moment feel that is immediately impactful. It comes on limited transparent blue vinyl - a great record for indie fans whether or not they are familiar with this band.
Review: Originally released in 2008, the Swiss industrial rock pioneers have reimagined their past material with instruments you'd likely find people tapping away at around a fire in Glastonbury - it's a far cry from the avant-rock high-voltage set up we're used to seeing with them. Nevertheless, they pull it off brilliantly. On 'Our House' they marry the Hang with unhurried arpeggio picking that sounds like a homage to the original Spanish guitar. 'I'm The Drug' takes a hypnotic, desert-rock approach and is adorned with jaw-dropping lead guitar runs. With this album a celebration of the acoustic guitar, it's fitting that they pay tribute to one of the all-time gods of the instrument: Richie Havens. They do justice and then some to his iconic cut 'Freedom'. A track that Havens famously performed at The World Says No To War in Iraq demo in New York City in 2003. The raw delivery that The Young Gods muster with their cover shows they have sincere affinity with said legend and are truly commanding of the stage even with more humble gear.
Review: Terry Riley's 'In C' had a huge impact on 20th Century music, first presented in 1964, it sounds out of this world, even today, and is as fixated on creating a musical impression as it is the technical rules it insists upon to achieve that - 53 phrases, each musician allowed to repeat theirs as many times as they like so long as they do things in the order they first appeared, making success reliant on listening to each other.
The Young Gods may not have such frameworks, but nevertheless also greatly effected countless other artists. They're a band that - to paraphrase LCD Soundsystem - really did sell, or maybe swap, their guitars in favour of synthesisers, their innovation cannot be understated. Here, then, they offer a new interpretation of Riley's conceptual masterpiece, following his rulebook while somehow managing to make it all new.
Review: Louisville post-hardcore/noise rock trio Young Widows release their first album in 11 years. This follow-up to 2014's Easy Pain has them land on such mesmerising pummeling form that all is forgiven and forgotten for the long wait for a new album. This dark, heavy, and powerful affair has an industrial, motorik intensity to it on single 'Call Bullshit' and the lyrics don't hold back: "I'm gonna call your bullshit/When it's close to me/I'm gonna call your bullshit/Even when it leaves." Elsewhere, 'The Holy Net' nails it in terms of the bleakest atmosphere you can imagine whilst subtly layering in a haunting vocal hook that stays with you long after you've pressed stop.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.