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.

Despite Tom’s superlative guitar playing tying it all together, the way it switches genres and atmosphere so chaotically ultimately makes it too uneven to really work as an album. Still, there are plenty of gems here, and – given how disparate it all is – probably something for everyone, no matter where your musical tastes lie.

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.

In general this is a more reflective, far darker album than we’re used to from the former god of partying.

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.

Katakana builds from scratchy verses to a drilling riff, Missile Command boasts an undulating Sergio Vega bassline par excellence and album closer Rodan summons an oversized riff worthy of its kaiju namesake. Yet so often it’s the little surprises, the achingly cool flourishes, that impress here.

To some, Infinite Granite is a further step away from what they want. To others, a step further into it. For Deafheaven, it’s simply who they are. Truthfully, it’s who they’ve always been. No surprises here.

You have a record that defies easy categorisation, reminiscent only of the restlessness embodied by outfits like Liars. If their music feels trippy and amorphous, their lyrical focus is often surprisingly specific.

By the time this EP draws to a close, it’s fair to say that its creators haven’t really strayed too far from their core sound – something they’ll want to build on with future releases – but when the songs just work and everything sounds so fun, it feels rather greedy to ask for more.

Foxing, however, just keep getting better. Who knows what they’ll sound like by the time the next emo reboot kicks in. But, for now, Draw Down The Moon makes them a champion in their own field.

Kristin has created the heaviest, most intense album you’re likely to hear this year, one that makes a tremendous addition to what is becoming one of the most idiosyncratic bodies of work in modern experimental music.

It has evolved beyond the blueprint they set out on their first album to expand their sound into new and exciting territory. Whether you’re a fan of slowcore, grunge, doom or shoegaze there is a song for absolutely everyone to enjoy on this album. Simply put, it is a must listen.

It broadens and deepens the story that began with that album [Sex, Death & The Infinite Void], acting as a requiem to the alien character of Roe. ... It’s simply eight tracks of lovely, rousing rock opera. Whether you’re after one, the other, or both, you’re sure to be left more than satisfied.