Cooder has history in his brain, veins and fingertips as well as a gift for sound collage. [Nov 2014, p.109]

A series of melodic sunset tales in which the bright light of Moore's piano is shaded and scattered by the dusk notes of his accompanists. [Nov 2014, p.99]

The Silver Globe leaving no doubt that she is amongst today's most striking sonic auteurs. [Nov 2014, p.99]

His fourth album's Blast-apeing vein of electro-gliding mirrorball pop comes in optimistic hues. [Nov 2014, p.95]

Palme finds Arnalds in fresh, electronically enhanced surroundings. [Nov 2014, p.96]

An even grittier, country-driven powerhouse collection loosely built around themes of female rebellion. [Dec 2014, p.94]

In all, a fiery triumph. [Nov 2014, p.100]

Stragglers carp it's not as good as 1985, fans thrill to the fractal energies. [Dec 2014, p.102]

Defiant and cathartic. [Dec 2014, p.90]

Their guileless sincerity is less wild rumpus than Snow Patrol in its universal simplicity. [Dec 2014, p.102]

Leeds psych-metal quintet sound suitably grinding and progressive. [Dec 2014, p.102]

A remarkable record. [Dec 2014, p.100]

The Oakland outfit grasp the slippery concept of time with philosophical relish and an abundance of psychotropic imagery on this conceptual sixth album. [Dec 2014, p.93]

Hardcore scholars will cheer this inspiring archival punk rock righteousness. [Dec 2014, p.111]

Martin Phillips was, and is, a singular songwriter, whose unassuming delivery belied songs of psychological depth and complexity. [Dec 2014, p.89]

The Basement Tapes ignored every record-producing rule while remaining true to the muse. [Dec 2014, p.109]

The problem lies with the unrelentingly downbeat music. [Dec 2014, p.96]

Nothing here truly ventures into the unexpected as [Russell] did, but there was only one Arthur Russell. [Dec 2014, p.89]

Their best album in 30 years. [Dec 2014, p.92]

DSU's charm is its blissfully carefree vibe. [Dec 2014, p.92]

A diverting, stoner-friendly 39 minutes. [Dec 2014, p.89]

This is hard rock as anthropology, administered like only this band can. [Dec 2014, p.88]

It's song-setting, rather than scene-stealing. [Dec 2014, p.86]

This studio rendition fills out the sound with added instruments, but this essentially remains a suite of spiky, modern-classical compositions delicately showcasing Smith's sensitive, frequently affecting observations on where he has fetched up. [Dec 2014, p.89]

Rhythm takes Mahalia Jackson into orbit. [Dec 2014, p.98]

A tentative return at best. [Dec 2014, p.89]

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]