The resulting record never splashes too far out of the gene pool... but it creates a pleasing coherence along with a slightly sentimental glow. [Dec 2014, p.100]

The familiarity of The Best day might suggest some treading of water, but for fans of Moore's unmistakeable skronk, there's plenty to devour here. [Dec 2014, p.96]

[The Inevitable End] overflows with regret and sorrow. [Dec 2014, p.96]

It's largely horrible, but sometimes impressively so. [Dec 2014, p.94]

This quick-fire sequel brutally updates the sabre-sharp formula. [Dec 2014, p.93]

There's even more of a streamlined feeling to Seeds.... but there's precious little which surprises. [Dec 2014, p.93]

Such is its weight and accomplishment that it could easily be the work of Gavin Bryars or Arvo Part. [Dec 2014, p.92]

Superbly eerie and echoey evocations such as View From The Mirror and The Golden Bough don't need big productions to make your ears prick up, just their disturbing use of minor chords and subtle sound effects. [Dec 2014, p.90]

The Endless River is big on atmosphere, just a little light on songs. [Dec 2014, p.88]

Sheer vastness occasionally swamps the pained intimacy of Young's vocals and open-heart songs of regret, nostalgia and reflection. [Dec 2014, p.88]

These old dogs have plenty new tricks left. [Dec 2014, p.92]

This is an album that expands upon a growing body of work. [Dec 2014, p.92]

Her piercing, angelic voice, redolent of Tori Amos, is given a sparkling canvas by Claes Bjorklund's synth battery. [Dec 2014, p.96]

One of the best rock'n'roll albums of 2014. [Dec 2014, p.96]

The blueprint's not rewritten, but Something From Nothing and The Feast & The Famine dose the Foos format with steroids, while Grohl's earnest delivery redeems the occasional detour into cliche. [Dec 2014, p.89]

If The Way's latter stages descend into lumpy Who-y rawk, the earlier auditory apparition of Buzzcocks in tuneful excelsis will always be welcome. [Dec 2014, p.89]

No amount of heavy-friend noodling can redeem One Night Stand and Driving Me Wild, and Ferry's Send In The Clowns would have Krusty renouncing his vocation. [Dec 2014, p.88]

Frazey Ford undeniably models here new album on those delicate masterpieces [Ann Peebles' I Can't Stand The Rain and Al Green Is Love], but it really works. [Dec 2014, p.90]

Harris's spellbinding songs still feel beautifully half-hidden, buried in black space. [Dec 2014, p.92]

A relatively orthodox live recording. [Dec 2014, p.92]

His overall grasp of what he is doing has never been surer. [Dec 2014, p.93]

Simple stuff, sparsely rendered, with a weighty undertow. [Dec 2014, p.93]

A challenging move from such a young artist who deserves to have his fans take a leap of faith. [Dec 2014, p.94]

Maverick pop genius soon reveals itself. [Dec 2014, p.96]

The all-pervasive teenage sexual obsessions on his tenth album can only come across as sweaty-palmed and distasteful. A shame, because musically Pom Pom's 17 tracks are uniquely inventive. [Dec 2014, p.96]

[The term techno] seems inadequate for the magnificent noise emanating from Clark. [Dec 2014, p.96]

The album's soft-haze strings are to die for, and the trad-sounding Trusty And True has admirable reach and dignity. [Dec 2014, p.100]

[IX meerges] distortion and tunes with heartfelt euphoria and big breakdowns. [Dec 2014, p.102]