While there are some standout cuts--most notably the Avalanches' Afro remake of "I'm a Cuckoo"--much of The Third Eye Centre should have remained on the cutting room floor.

Call It Love is an enticing work, but despite its many pleasing qualities, it doesn't quite stand out from the oversaturated electronic dream-pop scene.

In•ter A•li•a feels like a band trying to recapture the sound of their youth.

Remember Us to Life is one of Spektor's strongest records, and one that really requires repeat listens to appreciate every detail and effort.

In large part, this compilation is underwhelming--there are exceptions, but the creativity is lacking and, to some degree, that's surprising, considering some of the talent on the roster.

Though some may find the metal might tiresome over Periphery III's hour-plus runtime, the drive to keep exploring outside of their stylistic box continues to be crucial to their success.

A mysterious, sprawling listen that will baffle the masses, but reward patient listeners longing for an LP that is immersive, quirky and gently haunting.

The North isn't Stars burning their brightest, but they're a long ways away from flickering out.

King Gizzard's offerings, by their experimental nature, are a disjointed product. Rather than fight this, Chunky Shrapnel thunders headlong into it. ... While this jarring approach may not give you the best sense of a King Gizzard show, it certainly captures what makes them so appealing.

It’s a fittingly adult album from a pair who’ve long seemed stuck in a loop of playful immaturity — midlife sounds good on them.

Although his lyrics are as benign as ever, much of the music here doesn't just rehash what was good about the band's salad days, but bravely presents Corgan as an artist trying to stage one of the most unexpected comebacks in recent history.

As is, it's a great outing by Anthrax, if slightly frustrating in its lack of ability to keep the great momentum going consistently.

The instrumental cuts are warm and warped, hazy and slow-burning, all buzzing with bass and landing loudly in the realm of beat making.

This is an album that throws everything at the wall, and most of it sticks. Best enjoyed in the present.

This Is Not a Safe Place is a fine album with some songs that, with time, could become Ride staples. However, there are times where the band crumble under the pressure of bringing both a progression in sound, as well as a catering to their older audiences.

The Mobb aren't exactly reinventing the wheel here, but on album highlight "Timeless," the effect is beguilingly hypnotic.

TOPS like to keep listeners on their toes. Their music is undeniably beautiful and, for all its subtleties, often immediately rewarding.

The musical depth of the band's quieter writing is what draws the ear; electronics remain subtle, between Tompkins' falsetto and interplay between piano and clean electric guitars. That isn't to say TesseracT abandoned aggression entirely.

Though some of MG comes off unfinished and thematically skeletal, Gore does a fine job at utilizing a multitude of sounds on experimental-leaning tracks like "Creeper" and "Trysting."

The album's greatest strength lies in its cinematic quality. Every song feels like a scene in the bigger dream The Ridge represents as a whole.

Moving, emotional and richly textured, Earth is an impressive solo debut from O'Brien, and delivers one of this year's more fully-formed albums.

For now, the band seem content to maintain the status quo and refine the elements that made them so appealing in the first place.

Hidden Orchestra occasionally skirt the borderline of cheese, but thankfully manage to stay on the right side of it, for the most part.

Wraetlic is a dark record, delicately assembled to provide the listener with an experience in humanistic truth, a subject in which Smoke has succeeded quite well in outlining.

Providing a counterpoint to the dark rumble of the remainder of the release, dBridge has crafted a record that traverses the emotional spectrum in its three tracks better than any other drum & bass release has in the last few years.

While Tyler will almost certainly never outgrow life as a weird, hell-raising provocateur, Wolf shows that he's already growing into life as a smart, diverse artist.

A lack of variation in tempos and tones gives a sense of redundancy, yet the pace of the album, with all of its gosh-darn hooks, carries it through to the end.

Overall, Lantern's a beguiling collection of songs from an artist whose road to success is made better by the number of detours he takes along the way.