Everything's in flux, subject to change, but Xen is still a record of mood-altering substance. [Jan 2015, p.120]

The lesson: it's us who change, not AC/DC, nor indeed rock itself. Our mistake. Rave on, Malcolm. [Jan 2015, p.120]

Going Back Home packs all the vital joy that R&B-powered rock'n'roll should, but rarely does. [Apr 2014, p.118]

Creation is a tightly focused, instantly accessible and gloriously summery on the surface as its predecessor. [Jul 2014, p.114]

While Black Moth's back-to-basics approach to riffing may invite the term "stoner rock," that implies a lethargy of mood, and of mind, that simply isn't there. [Oct 2014, p.104]

The songs themselves, again sung in English, are often cryptic to the point of obscurity.... But the drama here is all in Arnald's delivery. [Oct 2014, p.102]

Despite the dark moments, Lost Domain keeps the flame. [Dec 2014, p.119]

A fourth disc of out-takes shines a light on alternate versions and work-in-progress songs that would surface on later albums. [Dec 2014, p.123]

This compilation once more confirms, Wyatt demands, deserves and ultimately abundantly repays, the fullest attention. [Dec 2014, p.120]

An album that reflects the best moments of his solo debut. [Nov 2014, p.114]

In solution, any song could light up your Saturday night; en masse, they sound like a formula wearing transparently thin. [Nov 2014, p.112]

Clever, emotive and thoughtful. [Dec 2014, p.107]

Allen's mastery of rhythm holds this inventive album together. [Nov 2014, p.102]

It's definitely soul [Vic Godard's] way. [Nov 2014, p.111]

It would be a solid album for someone like Annie, For The Ting Tings, though, it suggests there's no way back from Nowheresville. [Nov 2014, p.118]

As a functional piece of music, it's fitness-for-purpose isn't in question,. But as a stand-alone album, the satisfaction it can offer, perhaps, is. [Dec 2014, p.119]

It's easily enough to leave you wishing The Coral would get their distinctive acts together again soon. [Dec 2014, p.108]

One of his best then, and a perfect entry point for anyone who might be intrigued. [Nov 2014, p.116]

The Quiet One seized his moment with a burst of productivity encompassing 1968's raga-meets-rock-meets-music-hall Wonderwall Music, '69's Moog synthesizer noodle-fest Electronic Sound and '70s sprawling Phil Spector-produced melodic masterpiece All Things Must Pass. [Nov 2014, p.124]

Led Zeepelin would get bigger, louder and very imperious very soon. But they'd rarely sound like they were having as much fun as they do here. [Nov 2014, p.125]

Familiarity hasn't taken all the shine off Led Zeppelin IV, because once you get past the aforementioned over-exposed "hits," there's still the frantic Four Sticks and When The Levee Break's big lumbering blues to knock you off your feet again. [Nov 2014, p.125]

[Start Together] reveals a remarkable output across punk, pop and rock for a band that you can't help but feel still had much to do, As of now, they still may do it. [Dec 2014, p.124]

Beery, teary, rootsy and rollicking: it's singalong genius at play. [Dec 2014, p.122]

The band, however, are a little too gauche to rock out convincingly and fare better on the softer, Beach Boys-influenced psychedelia of Mirror Of Time and Strange World. [Dec 2014, p.118]

It's a thrilling listen. [Dec 2014, p.119]

Storytone presents the same 10 songs twice: compellingly naked save for a guitar or ukulele, then dressed to kill in Hollywood strings and big band brass. [Dec 2014, p.119]

An unexpected pleasure. [Dec 2014, p.118]

Big Music's bold title matches the bold music within. [Dec 2014, p.118]