Mogwai have been making their beautiful noise for nearly three decades, and while this film is sketchy on the details, it truly soars when capturing them live

After nearly 30 years in business and 10 albums in, Glaswegian cacophonists Mogwai have earned the right to an adulatory documentary – and they get one here, directed by former photographer Antony Crook. It has a purist approach, taking cues from the band’s anti-logorrheic approach by offering only a loose biography and comparatively little by way of analysis. All the better to let their majestic instrumental squalls fill the space, unencumbered by too much guiding commentary.

Kicking off just as Mogwai find themselves on the cusp of an unlikely UK No 1 for their last album, As the Love Continues, the film dips back to the late 90s to find them committed early on to meting out exactly the same widescreen guitarscapes. Alex Kapranos, who first put them on stage at the 13th Note Café, speculates that these emotional workouts are expressing what taciturn Glaswegian men usually don’t. Remembering getting the band to record a version of Jewish prayer Avinu Malkeinu (the 2001 single My Father My King), producer Arthur Baker inadvertently puts a finger on the religious-ecstatic nature of Mogwai live. But it’s writer Ian Rankin who identifies the band’s loud/soft dynamics as belonging to a tradition of “Scottish antisyzygy”.