Tantalisingly, this record also feels like the next building-block in a potentially genre-defining body of work. As much as we can’t wait for 100,000 gecs, however, there’s a mountain of fun to be had before we get there.

Dying Of Everything does not match or beat its predecessor, but that is not to say that it is lacking in any department, for it is a crushing slab of the dark’n’hard stuff executed with merciless precision and delivered with a killer mix.

Past //Present // Future dismantles every box the band have found themselves pigeonholed in, and sets them on their own path of integrity and triumph.

They’re making bigger leaps than ever. Even their more familiar-sounding songs show signs of metamorphosis.

Truth Decay is an album that sees You Me At Six grabbing elements from 2014’s Cavalier Youth and 2010’s Hold Me Down. Then it wraps them up into a time capsule of what it means to be a young adult in the ever-difficult 2020s.

Truly emphasising how far they’ve come since emo’s heyday, these songs have as much (or more) in common with alt.pop icons like HAIM, Alanis Morissette or Fiona Apple as even they do with even Paramore’s poppiest ‘rock’ contemporaries like Fall Out Boy and Panic! At The Disco.

One Day is a fearless from a band who punched the clock out cold.

When Måneskin tap into the youthful exuberance and fiery eccentricity that got them here in the first place, though, they’re still utterly unstoppable.

Every Loser is superb. But more importantly it encapsulates Iggy’s essence, not by reframing for a modern audience or pandering to trends, but drawing out the timeless qualities of its author: his anger, his sense of wonder and romance, and his downright strangeness.

The bad news for Disturbed fans, and unsurprising news for their detractors, is that Divisive is an average record. Hearing the first three tracks – opening single Hey You, the leaden Bad Man, and the forgettable title-track – one hopes they’re mere aberrations and that the quality high-octane arena fodder will arrive imminently. Alas, it never does.

This is a great rock album, built on its creators' own terms, and delivered with musical flash, songwriting panache and, at times, immense force.

It feels refreshing, and like a bunch of really good mates have got together to share their experiences with the world. L.S. Dunes could well change the tide on all things post-hardcore.

Cave World is an album brimming not just with colour and life, but also with a sense of striking unease that is pitched somewhere between the deeply sexual and the profoundly sinister. ... That all of this strangeness is carried aloft on a smorgasbord of varying musical styles makes Cave World all the more alluring.

Although it might not set your mosh muscles alight like the coffins on its cover, SMTB have improved their genre-exploring recipe with deeper flavours, keeping you coming back for more.

It’s very pleasantly chill, but after a while it does start to get a touch samey. Still, for those looking for something with vibe firmly in place, as ever, Turnover deliver exactly what you’re looking for here.

Pawns & Kings is classic Alter Bridge – nice big choruses, intelligent lyrics, rock music meant to be played on big stages – but with their muscle properly tearing through their shirts. And though for longtime fans this shouldn't come as a surprise, the level to which they've dived in here still may do.

Thematically taking place over one night, the seven songs that make up Datura are equal parts cinematic, catchy and cool, while also spectacularly showcasing Boston Manor’s creative growth.

It’s a ferocious, fearless record from one of Britain’s best.

Congregation leaves off with an air of strength. On one level, from overwhelming darkness, they’ve wrenched a set of songs that are not only vitally relevant in the here and now, but which will stand the test of time. On another, it’s clear that Witch Fever’s journey is just beginning.

Done largely live in the studio, together, looking at each other, the already taut LOG energy thrusts even harder.

Smart, confident and put together with a real sense of intrigue, WILLOW’s latest record is a testament to having the belief to forge your own path. As coping mechanisms go, this one sounds like a winner.

As a big, glossy rock record that finds Bush aging both gracefully and garishly, The Art Of Survival is a success, even if it’s unlikely to win over any those who’ve remained immune to the band’s charms so far, and isn’t innovative enough to ensnare new listeners.

Here, her already fulfilled promise is given the opportunity to breathe and find even deeper depths of wonder and intriguing brilliance. Hear it and weep.

It’s perhaps not as instantaneous as the debut, as vile as Iowa or as catchy as Vol. 3, but it offers depth, discomfort and danger to those willing to dive into the recesses of The Nine’s collective consciousness.

As ever, The Wonder Years remain the best in their class. They remain as musically smart, emotionally intelligent, and reassuringly bullshit-free as ever.

So, 13 albums in, Clutch are still uniquely brilliant, master craftsmen of a form at once ingeniously simple and amazingly clever. And one that only they can properly do.

It might not have anything with the same riotous energy as It's A Raid, his punked-up duet with Post Malone that went off like a feral firework, but it still radiates a sense of the thing you love keeping you excited and feeling alive.

Opener The Funeral presents a far less cartoonish performer than he was on 2020's overly-cute second album Weird!. This alone makes the whole thing magnitudes more enjoyable. The energised electro-pop of Memories (a duet with WILLOW) and the brooding Sex Not Violence continue on a similar tack, showing a width of creative goalpost while actually keeping things together.