Pleiades' Dust is a stunning release, a cohesive, exceptionally crafted piece that captures the heavy aggression and incredible musicianship of Gorguts while incorporating more avant-garde elements and a fascinating storyline to boot.

It admittedly spends a lot of time in a downer mode--a more light-amidst-the-dark feel would feel nice--but this sophomore effort remains affecting and affirming in its own quiet way

The experiences feel lived and the emotional crescendos genuine, but the inferred vagueness of the title belies the certainty at its core: For All We Know is a masterwork.

The King of Whys is wrought with restless artistry, simultaneously looking for and finding emotional release through musical exploration, lyrical introspection and bits of dry humour.

Hypercaffium could have been just another instalment in Descendents' long and fruitful career, and that would have been just fine; its biggest surprise is that it offers fans something new if nevertheless familiar, thereby cementing the band's continued relevance after all these years.

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.

Like many slackers with a heart of gold, Fulvimar is full of interesting ideas on this record, but can't seem to put in the work to flesh them all out.

The record is comfortably balanced between different periods of Shepherd's work, derailing expectation surrounding followups, all while still obfuscating the line between analog and digital. For Floating Points, it's business as usual.

Despite her great pipes however, the band's arrangements make much of Born of the Sun feel like amateur hour at Medieval Times. A talented producer would be able to focus on McCarthy's strong voice and balance some of the band's more freewheeling tendencies.

Look Park's weakest points are the frills that seem to dominate more than half of the album.

The Swizz Beatz-assisted "Let Me See Em Up," "Light it Up" and "Let the Beat Drop (Celebrate)" rarely do much to stand apart from filler. These occasional misses aren't enough to water down the entirety of Coolaid, though, with Snoop's return to G-funk proving refreshing enough to keep listeners' thirst quenched.

Angeleno, the triumphant debut from Los Angeles-based Sam Outlaw, is perhaps the best example of this old sound we've had in 40 years.

The MSTRKRFT formula of tight, catchy loops remains unchanged after all--they've just gotten a lot darker.

For an album comprised entirely of outtakes, Oddments of the Gamble sounds surprisingly realized and complete.

The result is an adventurous but inconsistent affair that suggests Clams Casino has plenty of ideas — and perhaps his masterpiece--still in him.

All doom fans should check out this album; those who aren't yet Inter Arma converts will more than likely be swayed by the cohesive chaos and neurotic introspection that define this album.

Despite the changes, many things remain the same, and fans can look forward to a solid third instalment.

It all taps deeply into different veins of pop, yet it's gloriously synergetic in the incredible world created by Prince Rama.

Dave Harrington's group stay in the realm of cinematic mood-scapes and atmospheres for the most part, despite some of their free-jazz inclinations.

The fact that AraabMuzik isn't afraid to collaborate with up-and-comers (working on songs with Riot Ten, WattzBeatz, Dvnk Sinatrv) and bring in guest vocalists (Mikey Ceaser, Baauer, Raiche) gives Dream World a diverse mixtape feel that stems from and reflects the mind of a truly singular force.

Overall, Blank Face LP has enough meat to warrant several satisfying helpings.

While the days of heavily sampled music seemed dead and gone forever, the Avalanches have somehow managed to pull off an album that's as much a mastery of red tape as it is of musical prowess.

While IV is extraordinary for delivering fresh music that elaborates on their past work, it feels particularly exceptional because of its forward momentum.

Although somewhat less accessible than Hairless Toys, Take Her Up to Monto sees Murphy coming in to her own as a solo artist.

A neon sugar rush that occasionally fizzles out with filler tracks, Nothing's Real ultimately leaves a lasting impression.

The prevalent mood of Life In The Dark is rainy day music, obliquely referencing dark times in America through often-satirical character songs.

Aphex Twin has made a good move here by giving a similar feel throughout the EP, but instead of having a few so-so tracks alienated by a standout one, the entire release ends up being fine but unremarkable, especially when pitted against the behemoths of his back catalogue.

Donna is eclectic, moving, emotive and true to Cassy's roots. Her vocals, which dominate the album, recall the same soulful edge of singer-songwriter Sade. The real triumph here, though, is the sense of creative freedom that pervades the album.