The result is an album which is remarkable on every level.

This might be a more reflective, experimental IDLES, but they remain a band filled equally with anger, humour and vitriol. And, whichever direction they take, it still sounds fantastic.

For Thrice fans, Horizons/East is another strident step forward from one of post-hardcore’s definitive outfits. For listeners at one of life’s soul-stretching crossroads, though, it could serve as so much more.

Engine Of Hell is not only a testament to her seemingly endless talent, but an unadulterated glimpse at a human being’s soul.

This won’t be an album for everyone. But for those with an appreciation for the cold, dark and depraved, it’s a hellscape worth falling into.

This knowingly middle-aged iteration of Limp Bizkit is far more likeable and less obnoxious than their younger self. But even so, they’ve lost none of their Big Durst Energy, and the knowing winks have only become bigger and knowing-er.

A long-overdue show of individual brilliance.

Hushed And Grim is a triumph from a band who have long been the final word in balancing the intelligent and the primal.

As with 2000’s perfect Midian – and this is the band’s best record since – Existence Is Futile’s magic is a surge of inspired creativity and pyrotechnic energy.

Not every single one of these 16 tracks is totally essentially considering their already-enormous discography, but anyone who wants less Every Time I Die is quite simply a fool – especially when the band are on such blistering form as they are here.

Deconstructive, deliberate and exquisitely designed, The Myth Of The Happily Ever After is the sound of a world-class band making truly world-class music. The only thing more exciting than every bar of its 11 songs is the promise of where Biffy Clyro might go next.

Eternal Blue is dizzying, cleansing and frightening. You need to delve deep to find your place within it, but that journey is the very thing that makes this album so interesting. It’s an entrance that brings darkness and beauty in shades of heavy that you haven’t quite encountered before.

Fearless album, an absolutely banging document of the last two years that will resonate far beyond his existing audience.

Musically there’s a touch more considered atmosphere than on predecessor AmeriKKKant, but this new Ministry line-up – featuring former Tool bassist Paul D’Amour and guest appearances from the likes of Billy Idol guitarist Billy Morrison and former Megadeth man David Ellefson – still knows how to rage.

This latest actualisation of their sound is just the beginning of an exciting new trajectory of musical exploration and experimentation.

A set of excellent songs. It’s a cohesive, largely understated collection, too.

The end result is not only an album that will delight diehard Tom DeLonge fans, but one that lovers of anthemic and occasionally experimental alt.rock will enjoy too.

By no-holds-barred closer The Scythes Remorseless Swing, it’s hard not to be overwhelmed with sheer awe just seeing these death metal progenitors getting back to murderous business. Killer stuff.

A staggering statement of endurance, diversity and sheer unbending power. Bow down to the kings.

Now there’s much more to them. Forget the sophomore slump, Comfort To Me is the sound of a band on the rise.

Every single one of these songs flags up Bad Waitress as a genuinely exciting prospect.

The uninitiated are likely to be overwhelmed by such a glut of material, particularly when it takes so many stylistic detours and about-turns. It’s worth the endeavour, though, because there’s some sublime music here, deep and diverse, which has plenty to offer nerds and newbies alike.

Senjutsu is simultaneously more diverse than its predecessor but somehow manages to concentrate its punches. It’s the sound of a band that continues to strive when it’s already honed its craft to perfection.

The Mutt’s Nuts is the absolute dog’s bollocks, and well worth a sniff.

Staggering third album GLOW ON changes the game once again. Upping the experimentation and layering on unprecedented emotional textures, its mixtape-alike 35-minute sprawl is more intricate, engaging and ambitious while feeling simultaneously even further laid back.

Halsey’s If I Can’t Have Love, I Want Power is an album best served whole. Sure, it’s packing some infectious, radio-ready choruses, but there is so much more to unpack, with each listen peeling back layers of heartache but also dexterity and adventure, and much-needed sense of danger that their peers are lacking.

While this is certainly different from anything they have released previously, it is unmistakably an Amenra album – they’ve lost none of their razor sharp edge and are every bit as crushingly oppressive as they’ve always been. However, De Doorn has allowed for them to explore a much wider range of the emotional spectrum that their music is skilfully able to express and, as such, breaks down the boundaries that they have spent decades expanding on and pushing the limits of.

The solos are absolutely enormous and are some of the most interesting song writing that they’ve produced to date.