There are plenty of cherishable moments to be savoured. [Jan 2015, p.96]

Too many superfluous guest vocalists distract but the result are bright and bold. [Jan 2015, p.96]

It rates amongst the best three or four post-millennial psychedelic rock records. [Jan 2015, p.95]

Moran builds on the foundation of the stride of king's eclectic, joint-jumping oeuvre. [Jan 2015, p.94]

It doesn't all gel, but the hits-to-duds ratio is high. [Jan 2015, p.94]

Turnbull readily unleashes his inner thespian but he's got playful pop-song chops, making A Hound At The Helm something of a post-modern glam trip that's far too good to be neglected a second time. [Jan 2015, p.94]

This is uneasy listening with little in the way of recognisable groove or plotting. [Jan 2015, p.94]

Gentlemen remains his [Dulli's] masterpiece. [Jan 2015, p.108]

This is an odyssey both emotional and educational. [Jan 2015, p.108]

The seething, sweat-drenched yet shiny Doolittle is the complete package--and still a reason to believe. [Jan 2015, p.108]

The Czars only had minuscule--if fanatical--support, but Grant's current profile should see retrospective justice done. [Jan 2015, p.112]

Completists will enjoy having the single edits of many tracks and the sound is sparklingly good. [Jan 2015, p.112]

It's hard to shake the sense that these songs ape Corgan's past but too often lack the spark of inspiration that fuelled his previous masterpieces. [Jan 2015, p.100]

While The London Sessions takes her in fresh new directions, Blige's own identity remains the dominant flavour. [Jan 2015, p.98]

While an absorbing listen in their original form these largely uncluttered canvasses also present an opportunity for further remodeling bounded only by the imaginations of those ready and willing to pick up the gauntlet. [Jan 2015, p.97]

While Rock Or Bust doesn't come close to that benchmark [1980's Back In Black], nor does it disgrace Young's legacy. [Jan 2015, p.95]

The beautiful results make it clear that, unlike poor Charlie Brown, he does understand. [Jan 2015, p.92]

With these selections long-time Arkestra saxophonist Marshall Allen proves himself an excellent guide. [Oct 2014, p.105]

For all its flaws, the outcome remains spectacular. [Oct 2014, p.103]

A true treasure from the archives. [Dec 2014, p.109]

Like Marianne Faithfull’s grazed, rueful daughter telling fragile stories of heartbreak. Or sometimes like Faithfull’s hopeful but world-weary grandmother.

A serious set that delivers on his promise. [Dec 2014, p.93]

Jap noise magus Keiji Haino wenches apocalypse-blues from guitar squall, vocal wail and synth sirens. [Dec 2014, p.102]

A joyful, celebratory affair. [Apr 2014, p.92]

Long gone from Creation is the balancing act between country roots and pop ambition of their earlier albums, leaving a dense, darkly alluring pop where, if you listen closely, you might just hear a kitchen sink or two rattling in the background. [Jul 2014, p.93]

When it ends it leaves a weird absence that can only be filled by playing the thing again from the start. [Dec 2014, p.90]

Much is familiar, via the archive releases VU and Another View. But with all traces of ’80s remixes removed, the performances now sound as they should--less like a rock band and more like The Velvet Underground. [Jan 2015, p.104]

It ranks among the best work of a major innovator and his unfeasibly talented Magic Bands. [Dec 2014, p.106]