Created in a time of distress and despair, Fuck Art is pure escapism. Looking back 20 years from now, you'd have no idea it was made during one of the most world-changing events of the past century; the only thing apocalyptic about it is the ground-shaking sound of a cranked-up Marshall stack.

It's certainly BTBAM's heaviest in a while, paying tribute to the BTBAM's watershed record without copy-pasting. It might fall short of wall-to-wall iconic status, but they already achieved that.

Wallows play it safe on Model, with a lack of distinctive storytelling shackling the album to its mid-tempo pop melodies, its highs too few and far between.

Much like Ross' affinity for mink coats, Mastermind is grandiose in its presentation, but it still only shows the surface of the man behind it.

Without something steady to anchor it all, Hello Happiness sound less like an album and more like a compilation of stand-alones.

Here's hoping they ditch the alt clichés and find their own sound on the next record.

It's hard to hear a group fall so flat on the follow-up to an album like Subiza, but even though there are some bright moments, Apar is undoubtedly a letdown.

E s t a r a is a step above genre-bending; this is genre-carving.

For their sixth album since their 2010 reformation, the tempo has been slowed down. This accounts for a more refined sound, well-rounded lyrical structure and master musicianship.

It's certainly not going to produce the next "Viceroy" or "Chamber of Reflection," but it's an exceedingly pleasant listen — the kind of thing that's the perfect soundtrack for working and studying, or to make chores a little more tolerable.

Though it feels relatively safe stylistically, Archives is a very much a welcome closer to Stewart's Vapor City vision.

Comedown Machine is a more even effort [than Angles], but it lacks any show-stopping moments, allowing the forgettable songs to blend together.

This is a fine finale to an impressive artistic achievement.

While it may not be the Ghost Inside's best work--that title still belongs to Returners--Get What You Give is an impressive addition to their discography and will certainly boost their profile.

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.

Sadly, Relapse sounds like an uninspired band ripping off, and attempting to sound like, classic Ministry.

As a solo debut, Lysandre is a self-indulgent effort that succeeds in spite of itself; it also signals an artist shaking off the shackles of the past and embracing a wider range of sounds and ideas.

With his altered, multi-tracked vocals and ear for dynamic builds, Philpots leads Bear in Heaven on a similar sonic path [as My Morning Jacket's Z], surrounding biting verse-chorus-verse lyricism with ambient laser beams and rubbery textures.

The most notable thing about the record is how excited everyone sounds. It crackles with energy, buoyed by the feeling that the trio are finally unshackled by their past. It's punchy, and the hooks generally last long past the record's short runtime.

One hopes that once this space opera is complete Haley will allow himself to broaden his horizons a bit more. In the meantime, Silicon Tare is worth a listen.

As it stands, it's a very good record that builds on and expands the musical ideas presented on his debut.

The tracks begin to bleed together way before the halfway point of the album and there's not a single surprise to be had throughout.

Overall, Gloria seesaws between being compelling and generic, with just enough highs to keep you interested throughout.

Free Your Mind won't surpass Screamadelica on any lists--it's far too much indebted to both that record and era--but you'll have a difficult time finding an album in 2013 that's as utterly energizing and sublime as this.

Throughout the album's 12 tracks, of Montreal manage to come off inspired, inventive, re-energized and wide-eyed on Innocence Reaches, utilizing new sounds rather than rehashing old ideas.

It's business as usual for the Wedding Present, but in the best possible way.

A few minor missteps don't derail the album. What's most impressive is that, 20 years deep, New Found Glory are still putting out compelling music and growing tastefully with each release.

Several moments on Peacock Pools rank among the most emotionally resonant in McBean's monumental catalogue.