Viewed as a whole, this set cements Harrison's reputation, not as a huge 60s phenomenon but as a human. [Nov 2014, p.104]

A consistently sparkling Weezer album. [Nov 2014, p.97]

This baffling mixture of the anarchy and the ecstasy takes some pulling off but the quartet has perfected the alchemical reaction. [Nov 2014, p.96]

Space Invader has brilliant heavy rock tunes. [Nov 2014, p.96]

As a project and as a reminder of a hugely talented lyricist this is a treat. [Nov 2014, p.96]

This album is absurdly in the red with ear-loading fuzz as Oasis at their most cocaine-blitzed. [Nov 2014, p.96]

The concept of this album is about following a path that is eventually going to lead 20 years down the line and wonder where it will take you. [Nov 2014, p.94]

Accessibly challenging, this isn't Moore's very best day, but it's up there. [Nov 2014, p.95]

This is the best Exodus album since 1989's Fabulous Disaster. [Nov 2014, p.94]

Dense and demanding, Soused will not be topping the album charts. But it is the kind of obliteratingly intense, glamorously weird avant-metal epic that Lou Reed and Metallica never made. [Nov 2014, p.94]

A slickness that comes with age and experience sees them settle into their own groove. [Nov 2014, p.93]

Songs Of Innocence is stricken with lethargy, with a level of aspiration that extends as far as Coldplay and never explores further. [Nov 2014, p.93]

The result is an autumnal masterpiece to rank alongside anything by Bob Dylan or Johnny Cash. [Nov 2014, p.92]

There's no faking this kind of quality. [Nov 2014, p.93]

The whole damn album's as sweet as a pecan nut. [Nov 2014, p.93]

At their best, the Wizard can still makes you spurt blood from every orifice. [Nov 2014, p.93]

If the music's a bit uniform, it'd sound great scoring a scene in Sons of Anarchy. [Nov 2014, p.91]

The plastic punk with the cartoon sneer has made his grown-up masterpiece. [Nov 2014, p.90]

Here the irresistible tag masks some solid riff-heavy whoopee. [Dec 2014, p.107]

Primus are an acquired taste, but a taste worth acquiring. [Dec 2014, p.107]

There is still enough here to inspire hope for the band in the future, but this album is not quiet there yet. [Dec 2014, p.106]

Throughout, Williams walks the line between tough and tender, just as she cleverly negotiates the path dividing heartland American music and the alternative, counter cultural variety. [Dec 2014, p.106]

An inspired madman's tribute. [Dec 2014, p.105]

Primitive And Deadly is a whole other beast, perhaps the closest that core members Dylan Carlson and Adrienne Davies have ever come to a remotely conventional rock album. [Dec 2014, p.105]

Language Of The Dead is a 21st-century wake-up call, dismissing the knowledge of a civilised past and demanding we toss our "idols into the sea," to catch some of the rock'n'roll "lightning" slashing throughout the skies instead. At such moments, the cathedral-sized keyboards don't sound quite so fake. [Dec 2014, p.105]

Too much of Big Music seems to be reaching for a gravitas it can't back up with emotional or musical substance. [Dec 2014, p.104]

While we can probably do without his appropriation of You Are My Sunshine, the covers of Edgar Winter's Dying To Live and Tell 'Em I'm Gone are both moving and powerful. [Dec 2014, p.104]

It gets a bit samey, as if noise alone is enough of a statement of intent. Thankfully, things pick up in the second half. [Dec 2014, p.104]