While the record does, on occasion, feel weighed down by its own existentialism - the more explicit musings on existence that open (‘I Am’) and close (‘Human’) the record notably - the rich sonic palette and Jehnny’s steely delivery ultimately win out.

‘The Prettiest Curse’ is packed with grooves, hooks and riffs, and from the opening bass drum to the closing fade, not a single beat is missed.

Those seeking another Interpol record won’t have much luck here, but ‘Muzz’ stands confident on its own two feet.

Where Westerman’s debut suffers is in its consistency: there’s such a distinctive sonic palette that, within a batch of tracks whose tempo never steps past ‘mid’, it’s hard for individual offerings to always stand out. But really he’s done the hard work; now Westerman’s defined his niche, all he has to do is refine it a little.

Nothing quite comes close to ‘Cars In Space’ for desk-slapping earwormery, but with three singer-guitarists at play, the music chops and weaves with an impressive intricacy, always stopping itself short of self-indulgence. If you’re looking for a modern, uplifting celebration of all things riff, these boys have got your back.

Infectious, exciting and even a little hedonistic during some of the most confusing of modern times, now’s never been a better time to get lost in this new destination.

‘RTJ4’ is by far Killer Mike and El-P’s most accomplished chapter, wrought with rage but injected with a humour and wisdom that offers razor-sharp clarity and, with that, an unapologetically raw and sobering take on our times.

In 12 songs, they make it pretty clear which side they’re on, and it looks like the winner - smart, engaged, and willing to crack a joke with the faith that their musical dexterity will speak for itself. Love them or hate them, dismiss them at your peril.

Everything they touch holding a vintage sheen of some kind, but it’s such a broad and masterful selection that there’s no sense of pastiche. The lyrics across the record let it down - they match the random patchwork of the sound, but take a step too far in the direction of gibberish for the most part.

With one foot in the classic NYC underground scenes that paved the way, ‘Underneath’ is pure bass-led, disco ball-flecked Studio 54, while the dance-punk footprints of ESG are all over ‘Cities’’ irrepressible hook and ‘Compromised’ tips a hat to godmother Debbie Harry. ‘Gentle Grip’ sounds timeless.

This whirlwind of self-discovery later in life plays out through individual tales of his romantic encounters, simultaneously juvenile and remarkably profound.

Had they filtered the cacophony of ideas a little more, ‘Notes…’ could have matched ‘A Brief Inquiry…’ as a modern-day classic; as it stands, its legacy looks set to be slightly more conditional.

A stirring and immediate listen, as Charli takes us with her on her lockdown emotional rollercoaster in real time.

Equal parts elegant and antagonistic, it comes together to be every part the listening experience that he wanted it to be - complex, unconventional and ultimately, essential.

It’s an absolute tour de force, a record full of drama and emotion and pleasure and pain.

While the unique sonics and instrumentation of this album are notably brilliant, they at times feel disjointed on a track-to-track basis.

A record that perfectly proves how much strength is in vulnerability, it’s undeniably Hayley’s most powerful move yet.

Emotional yet playful, soft yet strong, Happyness newest is the sound of a band fully settled in their own skin.

Social despondency and visceral frustration run throughout ‘I Grow Tired But Dare Not Fall Asleep’, a masterful soundtrack to a failing society - one that carries even more weight as we redefine community, connection and togetherness.

A weird and wonderful new offering.

His most experimental release to date.

The results are surprisingly cohesive; Sky Larkin could often be boisterous to the point of verging on bombast, but this is a record that speaks to growing measure and maturity.

‘Song For Our Daughter’ presents a poignant snapshot of the complexities of femininity - both ones imposed by society and ones engrained in Laura’s past. Some moments are remarkably candid.

There’s no question that a little bit of Lido’s formidable live energy is lost in the translation here, but ‘Miss Colombia’ remains a vibrant, accessible introduction to her boundary-defying body of work.

It’s a smart pop record that’s doused in self-awareness but still direct in its assertiveness - and never not compelling.

‘Friday Forever’ is a solid record with an intriguing concept that unravels fantastically under Russell’s loosened leash.

Insouciant, effortless cool; shimmering, effervescent melodies that cut through the street-smart danger; the ability to sound vitally alive whilst simultaneously not giving a fuck: all the traits that underpin the band’s best songs are present and correct, from ‘Dancing With Myself’-aping recent single ‘Bad Decisions’, to the twinkling, yearning ‘Selfless’.

It’s hard not to commend Nova Girls for the gripping collision of influences that make up their debut, and their commitment to doing it so forcefully.

It’s obvious they’re well-practiced at the craft, conjuring up 35 minutes of their trademark melancholy. It’s also an album of firsts for them - newly added keyboard player Marta Cikojevic adds a vital new layer. This in turn frees up vocalist Jane Penny to add a couple of flute solos on the record, which is a pleasant surprise. In fact, it’s the broadness of flavour on the album that is its main strength.

‘Migration Stories’, might be his most impressionistic yet, a collection that began life as eleven woozy instrumentals that came together during sessions in Québec with two members of Arcade Fire, Tim Kingsbury and Richard Reed Parry.

The LP’s darker moments are its most affecting, but the playful brushes of humour throughout never diminish anything; in fact, they make ‘It Is What It Is’ a richer, more human experience.

A record that improves on their second effort, placing them in a strong position to break through even further.

A dazzlingly-polished record that sonically does justice to the boisterous energy of these clever subversions of the kind of melodic indie rock you’d normally associate with Pavement or Built to Spill.

An undoubtedly influential album.

Margaret still sounds the most at home with her string instruments, but her foray into experimenting with electronic music has paid off.

Sorry have somehow managed to mould something immediate and accessible but undeniably in their own image. It’s a truly special debut, one that makes strange magic at every turn.

Another smartly-crafted step forward.

‘High Risk Behaviour’ is a record that’s bound to solidify The Chats’ name as a truly unique proposition.

‘Saint Cloud’ is the rousing of a regenerated spirit that chronicles not just the journey but the revelations of love, life and death that comes with it. A very special album indeed.

By the time closer ‘Boys Will Be Boys’ hits, Dua’s already smashed it out the park, and the euphoric ballad cutting down inequality with her impassioned chorus of “boys will be boys but girls will be women” only further cements what this album has proved: Dua will be going down in pop history as one of the best.

The leap has definitely paid off - her inimitable voice thrives in the woozy dancehall and afrobeat-inspired ‘First’ and the big pop confidence of ‘Womxn’, but also knows when to take a step back, peppering the record with spoken word segments and heartfelt mantras that tie the whole thing together.

A master of eulogising the grubby underbelly, Baxter’s is the kind of voice that’s utterly out of step with the modern, fearful, social media-courting world, and all the better for it.

An exciting glimpse at where they’re heading next, The Districts are here for keeps and we’re glad.

Few albums carry the raw emotion of ‘Every Bad’, and carry it with such musical confidence.

The duo have well established their trademark sound, and sonically ‘Ceremony’ pushes this to new extremes - the synths are darker, the drums are heavier, the vocals more melancholic than anything fans would have previously heard from them, yet still catchy as hell.

Throughout this 21-track pop odyssey, Lauv shows just why he’s considered one of the finest pop writers around.

With lyrics that simmer with self-awareness serving as the record’s backbone, the obvious points of comparison are Parquet Courts and Car Seat Headrest, but the idiosyncrasies that really make ‘Collector’ tick feel as if they’re all Disq’s own, from the subtle subversions of pop and rock tropes to the wry-beyond-their-years witticisms at every turn.

It’s taken him the best part of 20 years, but with ‘Traditional Techniques’ Stephen Malkmus has finally come up with the blueprint for slacker escape.

Every single moment of ‘A Situation’ feels dreadfully real and groovy as heck, so prepare yourself mentally - you may start to believe the matrix is real.

‘Printer’s Devil’ is the sound of a band who seem to have had a significant boost in their sonic confidence, even if Julia’s words are as fraught as ever.

The Orielles succeed in painting a vivid world of colour and flavour to get lost in.

Her signature sound is still there, yet on her latest offering, we can witness a more matured snapshot of an artist that is already wise beyond her years.

‘Suddenly’ is a treat and continues Caribou's knack of releasing albums that are both accessible and explorative.

Sensitive to a whole host of influences old and new, ‘Everyday Nothing’ is a confident, cohesive and finely-honed debut.

While his lyricism is filled with youthful nostalgia, his sound here is more mature than ever. Introducing an auto harp, his soundscapes are filled with a toned-down joie de vivre which makes the album stand out with its lucid simplicity.

‘Miss Anthropocene’ is undoubtedly the singer’s darkest album yet, the result perhaps of a rollercoaster half-decade or maybe just of an artist who’s never really given two fucks about playing the radio-friendly commercial game.

In her journey to rediscover her own strength Banoffee has created a remarkable pop opus unquestionably destined to empower the marginalised.

Overtly joyous and bulging with emotions both past and present, this album displays Best Coast at their most content.

It’s very much designed in their own image - as debuts go, this is an impressive mission statement.

Frontwoman Lili Trifilio describes ‘Honeymoon’ as an ode to spontaneity, and it’s in certain abundance on an album that finds the Chicagoan outfit entering a state of pent-up rapture. The band roam without a care, sporadic laid-back moments gelled with raucous vitality - a sensitive chemistry which Beach Bunny absolutely nail.

Written throughout their teenage years, they deliver an unfiltered journey of self-discovery.

Beneath the familiarity, Tame’s fourth is operating in a subtly different world. Where ‘Currents’ doffed its cap heavily to R&B within its pop smarts, creating his most commercial work yet, ‘The Slow Rush’’s ingredients feel slightly more disparate.

Gone the mangled Nuggets riffs and LSD infected yelps, replaced instead by slide guitars and deranged yee-haws. It shouldn’t really work, but it does.

While stuffing itself with enough insight to force its listeners to acknowledge contemporary issues, also present is enough charm and wit to remind us of the importance to having a little fun along the way.

Whether viewed as empowered statement from a newly-free artist, or simply as a great record from pop’s new princess of darkness, ‘I Disagree’ is in fact, extremely agreeable indeed.

‘All or Nothing’ is a grand refinement of their previous work, rather than a reinvention. Still retained is that amazing sense of propulsion and momentum the group have made their own; ‘Initiative’ and ‘Body Clock’ are impossibly fast, constantly threatening to overbalance themselves, yet always remaining resolute and gloriously intact.

With ‘West Of Eden’ HMLTD have fought off the suffocating grip of overhype to deliver a debut album that is a cut above the rest, even if it is a little overdue.

Patrick is found confronting familiar ideas of inner contentment alongside upbeat surface shine on this bittersweet work - full of charm and integrity

‘Sorry For The Late Reply’ is an album that’s taken the playful spark of their debut and refined it into a bolder beast.

It’s all effortlessly pulled together by Frances’ distinctive and enthralling vocals.

There’s a real sense of space, Squirrel Flower already showing herself to be an artist comfortable in her own skin. They aren’t all hushed ballads though, the instrumentation even verges on grungy at times, but make no mistake, there’s an absolute flow here. An accomplished first full-length.

‘Feel Life’ and ‘Steady’ resolve this darkness, both euphoric and knowing - and beautiful sonically - while ‘Blood Moon’ addresses feeling disappointed in yourself, and what you need to do to push through and make things right. ‘When We Stay Alive’ is emotionally raw, elegantly presented and at many parts a real tear-jerker. Wonderful stuff.

Overall, ’High Road’ is an overwhelmingly triumphant pop offering that sees Kesha back at her best and having shit tons of fun while doing it.

Re-emerging with off the grid mystique, Torres retains the grit of past efforts while doubling down on off-kilter charisma, securing a slick slice of alt-pop; her most complete and consistent yet.

He’s decided to take things a little slower, in the process creating his best, and perhaps most coherent, album to date.

Wire have proven that it’s possible to stretch possibilities through the introduction of outside influence. Youngsters take note, the past can be your friend.

Gone are the house influences that underpinned his 2016 debut, and in are scratchy demo-sounding guitars, crisp production and gorgeous flourishes of string arrangements. House still lives on in some of the beat arrangements, although it’s presented through more natural-sounding drums which, when stacked against the lo-fi instrumentals, births something fresh and inspired.

Deleter successfully blurs boundaries between time and space while gifting the listener with the unexpected opportunity for a total sonic catharsis.

‘Children of the Sky’ and ‘Gravity’ both prove that its possible for the duo to summon up genuine atmosphere without bogging down the songs with overcooked compositions. There’s still the odd experimental misstep - the meandering ‘Eyes of the Overworld’ in particular - but for the most part, ‘X…’ is endearingly light on its feet in a manner that suggests a real rejuvenation in Conrad and Jason’s creative partnership.

A very subtle progression from what has come before, it remains to be seen whether 2020-era BBC will capture the hearts and minds of a new generation. But for those who’ve held on in hope of their return, the rewards are fruitful.

Seeking Thrills sees Georgia lean in much more eagerly on the late-night grooves that have been supporting her breakthrough. ’Started Out’ and ‘About Work The Dancefloor’ make for solid, established openers, but there’s no shortage of other ideas that make complete sense in the soundtrack of modern lives.

Walking Like We Do is expansive lyrically, thematically and sonically, touching on social inequality and frustration with the current political and societal climate.

The labyrinthine complexities of human nature are explored here in all their grit and glory, but it’s the combination of Stormzy’s charm and his knack for storytelling that allows ‘H.I.T.H’ to glimmer with a universal appeal that will please both his mainstream audience and grime fans of old; an almost impossible task that he’s amazingly pulled off.

Fine Line is a compelling document of an artist coming to life.

By the time we reach ‘Swept To The Sky’, his transformation from indie-pop upstart to artistic troubadour is complete.

A pristine collection that’s at once the past’s idea of the future as it is the here and now.

At the end of the day, what Matt Maltese does best is conjure kitchen sink dramedies. And with ‘Krystal’, his ability to do that is as strong as ever. The melodies feel more like accompaniments to the stories; a canvas on which to paint. But the wry yet heartbreaking lyrics that accompany it shows an artist who has grown. As enviably funny as ever, but this time a little more self-aware.

Having watched countless American artists demonstrate through their music that Black Lives Do Indeed Matter, Kele Okereke has finally achieved his own Black-British take in ‘2042’, capturing all the fears and foibles of our current political system through a sonic palette that recalls some of the earliest of Bloc Party’s work.

MAGDALENE is an album of ideas bristling against one another. Sometimes, there is the feeling that less could have been more, but when everything aligns, there are true moments of wonder to be found.

William Doyle is unafraid to bring intellectualism into pop while never letting it feel like an exercise. And ‘Your Wilderness Revisited’ shows that he's kept his knack for mixing the two into a heady blend that’s easy to get lost in.

A laid-back album Altogether may be, it still leaves a sense of anticipation as to where the group will head next.

Vols. 11 & 12 yield nothing but successes. The eight tracks here are scrappy, sure, and have the understandable feel of demos rather than fully formed final products. But the bones of the beast? Well, they’re kind of brilliant.

A beautiful new offering, ‘Pony’ is equal parts heart wrenching and hopeful, and shows Rex back at his very finest.

Much like Lorde’s ‘Pure Heroine’ before it, ‘Cheap Queen’ possesses the perfect amount of devil-may-care attitude to counter the heaviness with which it feels its emotions.

It’s a frankly overwhelming listen first time around, with everything tearing along at a hundred miles an hour, but it’s all fizzing and crackling so exhilaratingly that you’re happy to let her sweep you along.

Full marks for exploration, but in this case the simplest tricks work the best.

An invigorating listen that flirts with the eclecticism of their 1998 album, ‘War Music’ continues to set Refused apart from the pack.

Self-produced and largely self-performed, Vagabon celebrates her heritage and her community, but most of all her creative freedom to challenge musical boundaries and to break away from the norm.