The faster Avonmore goes, the better it sounds. [Dec 2014, p.70]

It can be hard to spot any difference, so instead bathe om the spare beauty of "Ode To The Morning Sky," the scrumptious "Womb Of Time" or the wise, glowering "Weird Woman." [Nov 2014, p.83]

Tunde Adebimpe's gorgeous voice guarantees quasi-spiritual uplift even in their more obvious moments, but there are a couple of wild cards. [Dec 2014, p.81]

There is unlikely to be a more distinctive album released this year, simply because so few artists would dare put out anything so gleefully deranged. [Dec 2014, p.74]

Only the most devoted Apple Scruff could truly love Extra Texture, or its two immediate predecessors, now. Wonderwall Music, however, documents an innocent optimism that will always be worth a listen.

Striped of the visual element, what remains here is sparkling Nordic synth-pop, uplifting and accessible, but increasingly conventional. [Dec 2014, p.77]

Aside from the pleasantly Britpoppy "50,000 Kilowatts" and "Drown All The Witches," This is fast, fun, and full of piss and vinegar than one might expect from such seasoned campaigners. [Dec 2014, p.71]

This reissue eschews context and explanation to let their catalogue stand as its won defiant rock monolith, And as it should. [Dec 2014, p.93]

Incrementally, Yorke's resilient gifts come into focus. [Dec 2014, p.83]

A substantive whomp on the butt to typical Nashville superficialities. [Dec 2014, p.83]

Skip the sanctimonious turns by vegan singer-songwriters and there's enough here to make it worthwhile. [Dec 2014, p.83]

The quality varies but certainly hits the mark here and there. [Dec 2014, p.81]

Things get increasingly glum and disenchanted as the album grinds towards the cop-out of "The Troubles." [Dec 2014, p.81]

Fragmented and diffuse, Wyatt's second official album is occasionally guilty of being merely decorative. [Dec 2014, p.81]

No One Is Lost does what Stars do: uplifting songs with catchy hooks and gorgeous arrangements. [Dec 2014, p.80]

At 32 minutes, the album doesn't hang about, but offers in that time Shellac's signature intensity and repetition. [Dec 2014, p.80]

More often Big Music reanimates the band's founding spirit of adventure. [Dec 2014, p.80]

We find their extreme metal interspersed with more reflective moments. [Dec 2014, p.80]

Night Surfer is a swashbuckling set of blasted guitars and rootsy grooves. [Dec 2014, p.80]

It's all a little too eagerly oddball at times, but generally avoids the trapdoor marked Novelty. [Dec 2014, p.78]

Surprises are reassuringly thin on the ground here, but the quality of Ubovich's psych-tinged ramalams, mostly delivered at Ramones speed, is high. [Dec 2014, p.77]

Bainsbridge's achievement is to take a style of music defined by its emotional directness and render it mysterious, aloof and enthralling. [Dec 2014, p.77]

The real leap here, though, is one of songwriting. [Dec 2014, p.77]

While there are a few too many round-the-campfire gloom-fests on I Forget Where Were, there are also displays of real musical background. [Dec 2014, p.77]

Not everything works as well, but its entertaining enough and a portion of proceeds go to charity. [Dec 2014, p.76]

This terrific mini-album signals the arrival of an unlikely new set-up. [Dec 2014, p.76]

Baxter's brilliance is varied. [Dec 2014, p.75]

Co-producers Don Was and Jacknife Lee bring an Orbisonian scale to Melody Road, surrounding him with ornate yet tasteful arrangements worked up by LA's top session cats. [Dec 2014, p.75]