‘Fuse’, their first album since 1999, is precisely that: the blueprint for any alt-leaning electronic act in the pop space.

‘Multitudes’ was written in part during an experimental and communal set of shows Feist put on through 2021 and 2022 by the same name, and 12 poetic tracks that make up ‘Multitudes’ embody the same inventiveness, intimacy and connection of that limited run of performances in the round.

For young fans just now learning the joys of heavy rock – perhaps lured in by the appearance of this band’s 1986 classic ‘Master of Puppets’ on Netflix megahit Stranger Things last year – this new record will be a fitting gateway drug. For everyone else there’s simply the reassuring thrill that, after so many decades on stage, Metallica are still capable of delivering sharp, spiky metal – and sticking it where the sun doesn’t shine.

‘FACE’ might not be flawless but even in its missteps it reflects the turbulence of modern life – and especially of the last few years. If Jimin’s mission on this record was to stretch himself creatively and distil that dissonance in these songs, it’s one he’s accomplished.

‘Higher Than Heaven’ may not be strictly personal, but it definitely sounds like an album crafted with care, skill and no small amount of flair.

Thorny and tangled, this is dance music for drifting home from the club on deserted pavements; the moment of reflection after the euphoria fades.

With ‘Stereo Mind Game’, Daughter marks a new era of tending to sorrow instead of dwelling in it, where the band wading into new wider ranges of emotion without leaving behind the rich orchestration and poetic lyricism they’re known for.

Some albums devastate you with subtlety, and others bust your lip – Blondshell’s superb debut album is certainly the latter. ... One of the alternative rock albums of the year, and one to treasure tightly for quite some time.

‘A Comforting Notion’ feels urgent and important, brimming with all the promise of the next great cult act.

The result is some of the most pristine songwriting Bridgers, Dacus and Baker have ever penned. ... This debut is a gorgeous testament to what can happen when you allow yourself to fully be seen.

It’s an album brimming with audacious leaps, and they land most of them.

‘Memento Mori’ is comfortably their best album this side of the millennium, and, most importantly, a testament to creativity and friendship. The music world is richer for it.

It’s an album that could have easily ventured too out-there for the masses to find it palpable, but thanks Tumour’s outsized talent and personality, ‘Praise…’ avoids decadence and proves richly satisfying.

‘…Ocean Blvd’ might deal with some major existential questions, but there’s still plenty of fun to be had and cements Del Rey’s status as one of modern music’s most intriguing songwriters.

By the end this has the feel of a magnum opus, unrelentingly ambitious with just the right amount of self-indulgence.

Like virtually everything else on ‘10,000 gecs’, there’s nothing about the track [ ‘One Million Dollars’] that should work, and yet it not only commands your attention throughout, but demands replay after replay. ... ‘10,000 gecs’ is insanely fun and impressively ambitious.

Being able to show so much humanity and versatility so early in her career is highly respectable and if this is a glimpse of the future, Nia Archives looks set to become an unstoppable generational talent.

It all adds up to an album that holds your full attention even if it isn’t Cyrus’s boldest or most visionary. ‘Endless Summer Vacation’ certainly feels like an accurate reflection of who she is as an artist – and a person – in 2023.

Paying tribute to the music that they love while staking their place in rock’s future. For a young band to think of their career in those terms takes a lot of confidence, but it pays off on this debut. It’s one to last.

The brightest and most subversive moments on the album come when Dreijer enlist blunt lyrics and wobbling instrumentals to articulate hard-to-explain emotions flawlessly.

‘UK Grim’ is a more aggressive beast, with multi-instrumentalist Andrew Fearn bringing more colour to their sound, continuing to add new depths to his compositions.

Despite its subject matter, the record’s production and graceful composition prove more calming than dizzying.

‘Shapeless’ is an undeniable early-2023 highlight for cutting-edge pop music. But despite Daine’s distinctive songwriting, these 24 minutes feel less like a coherent, narrative body of work than eight new directions.

A warts-and-all reckoning, his most exhilarating project to date from front to back.

Shame’s latest offering is a refreshing refuge for those thirsting for music that stirs you up live, and allows you to play witness to a band’s evolution of sound.

Brilliantly, if subtly, displays a newfound maturity for Abrams.

There’s no broad concept or industry-busting roll-out, just 10 pristine, richly satisfying tracks; no more, no less.

The album may not be teeming with experimentation – and somewhat understated in places – but it’s certainly potent enough.