Back catalogue: Rock (All)

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: The film score to Kelly Reichardt's understated modern buddy movie classic, Old Joy, was composed by Yo La Tengo; one of the band's many soundtrack works, in addition to Shortbus, Junebug and Game 6, the Old Joy soundtrack was born of a years-long friendship held between the director and members of the band. Apt, since the film itself concerns the innate strength of amicable male bonds, maintained for years, even decades. This is also the most pensive and ruminative of all of Yo La Tengo's soundtracks, coming marked by montaging, repetitious guitar licks and pedal tones; excursive feels all round, matching the film's sombre and contrite climax. Now reissued for the first time on vinyl.

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: 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: 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.