Where the album ultimately succeeds is in its song-craft, with everything from its diversity and song structures clearly improving, without significantly forsaking the trio's effortlessly catchy and engaging melodies.

Overall, All Visible Objects acts as a love letter to the early ‘90s techno/trance/rave scene, albeit in a pop-instilled way. Moby pays his respects to the respective era, blending various sounds from his discography into what plays like a smoothly sequenced, nostalgia party mixtape.

IV Play succeeds in spades with its production and songwriting.

Born to Die is a brilliant album, but it's one that leaves room for a few improvements, and inspires confidence that they'll happen.

The [line-up] present on Ersatz G.B. were also present for 2008's Imperial Wax Solvent and 2010's Your Future, Our Clutter, records that showed enough touches of class, craft and ingenuity to reassure The Fall's notoriously hardcore following that the future was surprisingly rosy.

While there's little substance to be found on 48:13, it can either turn you off from the beginning or get under your skin, making for a harmless listen where you occasionally bang your head to the catchy highlights.

The record’s energy is impressive; the craft, even more so. What it doesn’t have, though, is any sense of vision, nothing of that dangerous excess or discovery that the best Cut Copy provides in spades. Instead, Haiku From Zero ends up being a bunch of great songs and little else.

For much of Paralytic Stalk's first half and even for most of the more unhinged second act, Kevin Barnes strikes a near-perfect balance between pop mastery and a delightful sort of weird.

While it is still caught a little in-between moods and is clearly front-loaded, ‘The Optimist’ feels more instinctive than ‘Fantastic Playroom’, and is ultimately a step up because of that.

This record is brooding and shadows, joy and smirks, a blood-red dusk on a quiet desert evening; all emotion and sparkling instrumentation, confident of where it wants to go and even surer on how to get there.

This delusional “growing up is bad” aspect of Bangerz is part of what makes it good, because it means that Miley can pull off things that shouldn’t work.

Overall the album is consistently strong and evenly balanced between sexy club tracks and sexy pop tracks.

Stripped of all excess, These Systems Are Failing delivers like very few others do in Moby’s discography. It will no doubt divide a part of his fan base like Animal Rights did, however, it won’t be as shocking as in 1996.

Overall, Life Is Good is a cogent evolution in Flogging Molly's trademark Celtic folk sound and a welcome gift from a band celebrating their 20th anniversary this year.

For long-time listeners, there's a definite air of familiarity in each track, but this record can serve as an acceptable introduction to Alien Ant Farm.

This is a solid slab of industrial metal without a distinguished bone in its body, and not much else. Here’s hoping for next time.

War Stories is another win for Lavelle.

The album almost has a mix-tape esque feel to it and the staggering amount of guests has much to do with this.

Ocean Avenue Acoustic is, not surprisingly, at its best when it ventures beyond what is anticipated.

The energy and personality which flood out of every melody give this album its own stamp of authority.

While pacing proves to be the record’s ultimate strength, Sagarmatha simply doesn’t say enough to be a real force.

His conception of melody and harmony is well above the average hip-hop artist, but the album as a whole is very flat and boring.

It's not necessarily a masterpiece nor was it ever meant to be a grand statement that'd capture everyone's attention; a low-key unveiling is more fitting, for it's the Collective's return to form, except in a way that nobody expected.

Adventures is a record that is just as quirky as it is brilliant.

This is verse-chorus-verse as pleasantly intuitive as it comes, thematically light yet with enough room for the musicians to show their considerable skill.

For better or worse, there’s nothing new or surprising about Disturbed’s eighth release. On Divisive, the band don’t step outside their comfort zone, they don’t add any new elements, they don’t push the envelope on their established formula, they’re just Disturbed – but they’re Disturbed from their classic era, which is better than nothing.

Its a richly textured, layered, and almost earnest stab at everything this artist ever attempted to do before, all rolled up nice on one album.

Another drug-induced and psychotic chapter in the kaleidoscopic and perplexing saga that is the life and times of one Quentin Dupieux.