What’s crucial is that ‘Let the Festivities Begin!’ never feels like a case of throwing all of these different textures at the wall to see what sticks; instead, the sounds of everywhere from Turkey to Peru to Argentina are wound carefully together on the maddeningly catchy likes of ‘FFS’ and ‘Change of Heart’, before being relayed with exhilarating gusto. There will be few debuts this year that feel like such glorious exercises in musical technicolour.

There’s nothing about the album that’s easy or comfortable to listen to, but it’s so meticulously constructed and so raw across each fragment of existence yeule lays out that its most perplexing moments become its most moving.

Bastille’s choral, digestible power pop DNA is present, but grittier than usual.

Korn are anew, and ‘Requiem’ sees them fearless, no longer managing a balancing act with imprudent collaborators and instead embracing what made them famous to begin with. Impressively, their 14th studio album is teeming with riveting hooks.

Throughout, keys shimmer, the production is bright and sky-facing, with an emphasis on synthetic beats. It makes for an album that’s unsubtle and all the better for it.

On ‘Motordrome’ she returns fresh and reinvigorated. No longer simply living to survive, MØ is having fun being herself.

It’s a record you have to give the space it deserves, rather than dip in and out of. That said, there are still some tracks that are especially sumptuous (‘Healing Hurts’, ‘Out Of This World’), that call attention to the fact that this is her musical cosmos, aware of its own self-indulgences, and no worse for it.

This is a record scored through, unmistakably, with a desire to have some fun.

A more pure and intense sound, less manufactured and acutely heartfelt.

Tightly paced electronic seams blur with floating chamber pop and global influences, warding off any sense of inertia on an album that has one foot in the worldly and another in the firmament.

‘The Overload’ lives up to its hype with flying colours. Brilliantly constructed to unfurl like some sordid soap opera of Brexit Britain, it brims with vignettes populated by instantly-recognisable caricatures of the now.

This is an irresistibly likeable album, very much in the mould of its creator’s affable, mellow personality.

While ‘Reflection Of Youth’ delved into intimate soul searching and destructive introspection, ‘Speak’ casts a macroscopic lens on the human experience, delicately documenting Anna’s rising confidence and newfound acceptance in her sense of self.

Committed to tape with the help of Rich Turvey, on ‘Now Or Whenever’ Spector strike between the two eras of their sound, tempering all out alternative bravado with yearningly bittersweet baritone-crooning ballads.

With every listen there’s something else to hear, something new to discover, and something different to feel.

Taken together, the albums are overwhelming in their stylistic diversity; one minute, she’s serving up clattering electro on the likes of iii’s ‘Skullqueen’ or ‘Ripples’, and the next, we’re hearing her break classic ideas of what ambience should mean to fit her own mould on the Oliver Coates-featuring ‘Esuna’.

Taken together, the albums are overwhelming in their stylistic diversity; one minute, she’s serving up clattering electro on the likes of iii’s ‘Skullqueen’ or ‘Ripples’, and the next, we’re hearing her break classic ideas of what ambience should mean to fit her own mould on the Oliver Coates-featuring ‘Esuna’.

Taken together, the albums are overwhelming in their stylistic diversity; one minute, she’s serving up clattering electro on the likes of iii’s ‘Skullqueen’ or ‘Ripples’, and the next, we’re hearing her break classic ideas of what ambience should mean to fit her own mould on the Oliver Coates-featuring ‘Esuna’

Taken together, the albums are overwhelming in their stylistic diversity; one minute, she’s serving up clattering electro on the likes of iii’s ‘Skullqueen’ or ‘Ripples’, and the next, we’re hearing her break classic ideas of what ambience should mean to fit her own mould on the Oliver Coates-featuring ‘Esuna’.

It paints a deeply personal portrait of romance and intimacy, underpinned by an ever-present sense of fun, not least on lead single ‘Daddy’ or the piano-led ‘Please Be Friends’.

‘Marriage’ is the sound of Deap Vally tapping back into what makes them tick, and lays the groundwork for their most exciting era yet.

It should come as little surprise that Lydia has spent time on the standup circuit, and it’s this ability to send up any notions of seriousness that’s Gustaf’s greatest trick. Add some suitable spiky, metronomic riffs and ‘Audio Drag…’ is anything but.

For now, it’s hard to know whether ‘…Pt. 1’ is indicative of the overall direction of ‘Fever Dreams’, or merely one facet of it. Either way, it’s the polished sound of Johnny Marr putting his best foot forward.

There’s an expert tenderness to her stories and their delivery, one cut through by often-unexpected melodic switches. Her ability to hold back, to seemingly cut a track short, brims with confidence.

The real masterstroke of ‘30’, however, comes with how these lyrics - the pain, the self-flagellation (sometimes cruel, often mocking), the hope, the acceptance - are expertly matched musically.

What begins as a deeply personal commentary eventually evolves into a world-renowned producer taking the attention away from his ability to refine others’ work, alternately placing the spotlight over his own voice, with its startling ability to carry a tale of kindred love, loss and the weight of fame.

At its best, ‘CRAWLER’ is fresh, bold and inventive in a way we’ve never seen IDLES attempt to be before.

Not only are many of the tracks here vocal driven, there are some single-worthy hooks too.

Pip Blom haven’t changed their sound, but they do feel like they’ve got to know it better.

It’s a strange mixture of comfort and malaise, but it’s probably the most honest document of the past eighteen months, too.

Despite its heavier moments, ‘Which Way to Happy’ is a genuinely healing listen; an album to get cosy with while its music lovingly soaks your wounds.

The sheer breadth of sound is astonishing, yet easily pulled together by Lindsey’s distinctive wavering tones and lyrical impact.

A riveting fullness echoes throughout the record.

The War on Drugs are reliable - not in the sense that they’re workhorses, but more in that Adam’s years-long close study of guitar rock has now evidently become an incontestable mastery.

Geese manage to add interesting new wrinkles to their sound, suggesting that, in time, the post-punk rulebook could yet be ripped up all over again.

‘Blue Banisters’ presents a collection of sun-kissed moments and hazy memories, free from judgement and firmly rooted in place.

‘Actually…’ delivers a fairground of gleeful unpredictability populated by usual Deerhoof tropes: elliptical song titles, a whole gamut of biblical references, and disjointed rhythms that prance majestically between tempos and motifs.

Life is too short to waste time. ‘The Myth…’ expands from this vital message, allowing the record to emerge as Biffy Clyro’s most emotionally powerful in years.

‘Prioritise Pleasure’ manages to challenge accepted norms and help to exorcise long-buried demons; it’s powerful to the last drop.

It’s a rousing ending, and one of the few mesmerising moments on the album: it’s just a shame that the band don’t commit to one route or the other.

For all its ambition, however, it occasionally leans a little too heavily on the cliched conventions of certain genres, particularly pop and dance. ... Nonetheless, its ambition and creative concept can still be applauded, and there are some hidden gems to be found

It does everything a debut should, dipping into multiple pools but uniting them all with a consistent outlook and a clear voice. Joy Crookes, by rights, should be riding ‘Skin’ into the big leagues.

‘To Hell With It’ is a heady mix of ’00s genres and references that only seem to work together because it’s delivered with just the right amount of earnestness.

‘Sticky’ is music for living life in full colour, and until you listen, you won’t know how much you needed it.

Accompanied with her scatter board samples and untold charm, ‘Juno’ is a resounding celebration of existence and Remi Wolf is the MC.

Hayden Thorpe is still feeling out the next leg of his musical journey, but has the distinct advantage of making every left turn he takes sound assured.

As he says on opener ‘Good Morning’, Matt is here to help “you push your demons away”. And 13 beautifully-constructed ballads might just be the ticket.

His shifts in sound are as delicate as his music, continuing to showcase his ability to blur styles with unparalleled precision.

What could have become overly sentimental instead presents as subtle and sincere. The sincerity is elevated by their understated tones, harking back to the beauty of Elliott Smith but swept into now by crisp production and experimental flourishes.

Multi-faceted in both personality and musical style, ‘Access Denied’ has proven itself every bit worth the wait.

Among its mix of roistering anthems and melodramatic balladry, ‘9’ exudes a supple confidence throughout, engaging in some of the most enthralling Australian psychedelia to emerge from 2021 (of which there is plenty).

‘Bright Magic’ flourishes at its most calm and erupts at its most fervent, lending itself neatly to a state of anxious tension, sonically chronicling the faded walk back from the club, when dawn and dusk blur into irrelevance.

Radiant, joyous record.

He may know damn well how to deliver a banger, but also when to tone it back a bit too. Though it may not all hit hard and there are some sonic kinks that could’ve been ironed out, when it does hit, it’s impossible not to be swept up.

Tommy’s aware of her strengths, and she’s not afraid to brandish them: ‘goldilocks x’ is a little weird, a little dark, and it’s just right.

From the punishing storm that’s whipped up within the introduction of ‘Universal Chokehold’ through to the unflinching frenetics of ‘Set In Stone’, there’s a real sense of confidence that runs throughout the record’s 11 tracks. This is a band at the top of their game.

Against Justin’s increasingly interesting way with words, it feels like the purest Vaccines album yet.

‘Cool’’s sharp pop unfolds with a satisfying lightness of touch.

An impressive first outing, Spencer.’s skills as a producer and songwriter have never been more evident. Period.

At its heaviest, ‘TEXIS’ is blistering, ‘Justine Go Genesis’ as mind-bendingly intense as it gets, with closer ‘Hummingbird Bomb’ and single ‘Locust Laced’ not far behind. And when synths do take centre stage, no impact is lost: ‘True Seekers’ and ‘I’m Not Down’ are akin to a more in-your-face Chvrches, Alexis’ vocal sitting juxtaposed with expansive electronics. It’s the best of both worlds.

‘A Beautiful Revolution Pt. 2’ is a sweet paean to music’s mood-boosting properties, as well as it capacity to effect meaningful change.

There’s a track or two that don’t add much to the album’s direction, ‘Maggot’ being one of them. But on the whole, this feels like Amyl and the Sniffers finding their purpose. It’s something to behold.

There’s a sense of the trio reaching for a comfort blanket, turning back towards the intellectual pop that inspired them as youngsters in the ‘80s.

‘star-crossed’ mirrors the pain of a breakup, from turbulence through heartbreak to hope and self-acceptance. It’s here where she fully embraces Nashville storytelling. Far from spinning distant, third-person tales, each track feels incredibly personal.

If ‘GREY Area’ saw Simz come-of-age as a rapper, ‘Sometimes I Might Be Introvert’ is Simz making her first long-lasting artistic stamp on the zeitgeist.

In a world where musicians can feel pressured to release albums year after year, Maisie took her time with this one, resulting in an album that could well be timeless.

The record is not quite so relentless that it needs a pause, and at points feels as if it should move up a pace, decibel or pitch instead of the opposite way.

An invigorating, thrashing effort - which is ultimately also a lot of fun - ‘Glow On’ shows off just how innovative hardcore could become.

It’s simultaneously euphoric and angsty.

‘Screen Violence’ marries visceral anger and empowerment. The result is their most euphoric rallying cry to date.

As is always the case with albums of this nature that brim top-to-toe with guests, it’s sometimes hard to locate the thread that runs through it all. Nevertheless, there’s a terrific bounty to be enjoyed in the centre of the Vernon-Dessner Venn diagram.

It’s only when he tries to amp it up that ‘Chew The Scenery’ falters; ‘Stuck’ might possess a standard freshers indie chorus, but when it aims for Oasis-level swagger, it meets closer to the Gallaghers’ recent solo endeavours than bucket-hatted air-punches. Similarly the euphoria of ‘Yeah!’ misses the mark. Still, there are more than a handful of stellar moments.

For the most part, the record is a heady trip that prances around greatness but settles for pretty good.

There are nods to The Velvet Underground’s knack for dreamy simplicity (‘Blind’), and times when Viscius peeks into Vivian Girls-adjacent, more garage territory (‘Take That Back’). For the most part, however, ‘Everything’ operates from within the particular fog of grief: fragile, tactile, tender. It’s a frequently gorgeous thing.

For an artist usually so meticulous with her vision, that these are able to sound so airy, almost frivolous - and, indeed, they were recorded back in 2020 as more of a exercise than intended for release - makes this curio of an EP all the more engaging.

It has the potential to be an outstanding listen, and it would have been if ‘Other Language’ and ‘In Blur’ had a slightly stronger sense of direction, but Deafheaven has still crafted a record to get lost in. The metal purists crying sellout will sorely be missing out.

Here, the sonic experimentation finds his production and arrangements reaching the same imaginative heights. A thrilling and unpredictable addition to Villagers’ gleaming canon.

Orla Gartland’s debut is an intricate, carefully-constructed collection, blending together indie-pop, folk and alternative rock. She masterfully layers sounds so not even a hand-clap feels out of place and even empty space is used well.

And while, perhaps, this more reflective musing on American life wasn’t quite what we’d come to expect from The Killers, ‘Pressure Machine’ does prove that not all escapism arrives with a hook-laden chorus. This is an album which invites you to dig a little deeper.

This is by no means a ripping up of the rule book for Jade, but from this side-step where she’s going next could be anyone’s guess.

Ihe duo’s latest project is a barrage of positivity with a collection of upbeat anthems perfect for a sun-soaked summer of love.

‘Model Citizen’ takes everything that has driven the scene forward and injects an unapologetic - and very welcome - Gen Z spin.

A collection of the best of what has come before, ‘Draw Down The Moon’ finds coherence in its unashamed madness. It’s pulled together by Connor Murphy’s unique vocal performance, and the welcome dominance of drummer Jon Hellwig.

IDER are back at what they do best, providing a glimmering sense of hope that we aren’t alone with our anxieties.

The music never explodes into complete madness, but rather bubbles along slowly, suggesting that the violence is mere moments away. ... Horror fans take note. This is how you create terror.

‘Happier Than Ever’, then, is not just a triumph in progressing a signature sound into new territories, but a lesson in how to own your reality with confidence and class.

Throughout, ‘American Noir’ delivers a vibrant and fitting homage to the recently departed Jim Steinman; the eight tracks harking to his musical opus.

With ‘Thirstier’, Torres has delivered her most varied set of songs yet; trying on so many different costumes suits her.

While ‘Take The Sadness…’ may not be a bolshy, career-defining move, it is a shimmering, reflective gem, hoping to offer a little relief from the darkness.

Indulgent by design but illuminated with imagination, it takes a few listens for the LP’s diamonds to truly shine, but when they do, they really shine bright.

Setting such a high bar on your debut can be a poisoned chalice but Dave weathers the storm with his astute penmanship, impeccable musical taste and cool, collected delivery.

While ‘Yellow’ mixes it up nicely with freak-outs, group chants, P-funk and mellowing R&B, it is lyrically where the album wearies.

While more of a slow burn than his previous efforts, ‘Gold-Diggers Sound’ sees Leon Bridges shine brighter as a songwriter, as an artist and as a man than ever.

‘Immunity’ was a shoulder to cry on, a promise that it will all be okay, eventually. ‘Sling’ feels like that “eventually” coming true.

‘Hotel Surrender’ must surely be one of the most cathartic records of the year. From the laid-back cool of opener ‘Oh Me Oh My’, it seems the Faker brand of chill beats is back. The self-production adds to the organic nature of the record, and is often quite bold, with strings and saxophones aplenty.

Soothing to the extreme, but still with enough variation not to lose attention, he’s on to a winner.

Wavves have created their most varied collection so far.

By taking the time to delve back into his rap upbringing, he’s progressed further, gleefully throwing a ton of ideas at the wall and finding that nearly all of them stick.