Utilising a considered selection of guest vocalists, it takes a keener focus on rap and afrobeats, making good on the breadcrumb trail of singles that have tided fans over in the five-year album interim.

There’s an effervescent sense of fun that fizzes throughout here on an LP heavily indebted to the work of Kathleen Hanna, both in its sound and its politics.

For the most part, ‘Death of the Party’ shows a band actively pushing themselves to grow. They might not be the same happy chappies as before, but not even The Magic Gang can stay young forever.

Expanding upon the electronic foundations laid so deftly with EP ‘Hallucinations’, there’s an assuredness to PVRIS’ latest move - especially during the affirming closer ‘Wish You Well’ - that shows off just how much she’s conquered.

Confined to merely six tracks, the ‘La vita nuova’ EP feels like it ends too soon - and that’s entirely symptomatic of how strong the songwriting is. In 2020, Christine is still truly in a league of her own.

But for all the moments that tend towards fun-but-silly ‘70s musical theatre, there are plenty that, in isolation, ring with the kind of sepia-soaked sweetness that most genuinely don’t make anymore. The Lemon Twigs might not always take themselves seriously, but you’d be remiss to dismiss them as a joke.

‘SUGAREGG’ is eminently aware of its own fragility under its candy-coated shell, and with it a candid recognition of the fleeting nature of happiness and the work required to hold onto it.

It’s an album that feels rich and invigorating, and proves they’re still one of our most treasured bands for a reason.

A long time coming, the record is fully worth the wait, Dominic flexing his musical muscles in a genre-blending debut that sees him dip his toes into rap, hip hop, pop, rock, emo, and more. A sure-to-be-beloved album amongst Gen Z-ers.

Poignant, refined and still packed with relatable energy, the duo feel even more confident second time around.

Striking the right balance between slick and energetic, if a fuzzy but fun album’s what you’re after right now, look no further.

With highly catchy choruses on ‘Heart of Mine’ and ‘Deliver It’, it’s obvious that the band can deliver the pop sheen they are known for. But while reaching for style, it is only by exception that they achieve their usual substance.

As Biffy-ish as ever, with its cranked-up guitars and stadium-sized hooks, it’s also a deliciously unusual listen, shifting gears from the dub-flecked ‘Instant History’ to the unhinged scorcher of ‘Cop Syrup’. And while ‘A Celebration of Endings’ does explore the current frustrations felt by the band, both political and personal (“We’re fighting an ugly war / And it’s no good to freak out,” sings Simon Neil on ‘Weird Leisure’) it also offers up a brand of gut-wrenching, defiant hope.

With more focus, this could have felt quite vital.

Well and truly living up to his aim of creating a timeless classic, ‘Twin Heavy’ sees Willie delivering a more concise and cohesive record than his previous, leaning into a more distinctive sound and crafting an album that shines throughout.

A modern-folk masterpiece which finds her moving from her previous pop bangers into stunningly simple yet sharp melodies, ‘folklore’ will be going down in Swiftie history as one of her most unexpected, and undoubtedly one of her best.

They have crafted a new geography of their own, pulling together all of their strengths and vulnerabilities.

The album proves to be a glacial melt of shimmering beauty, asking for attention and rewarding it with a kind of zen.

An album that manages to be both delicate and thunderous at once, ‘I Slept On The Floor’ is a potent and empowering statement of intent.

It’s sharp and serious but without the navel-gazing feel that sometimes makes ‘Appalling Human’ a difficult one to truly get stuck into.

Clearly not ones to do things by halves, ‘Sex, Death & The Infinite Void’ may be an album that feels boldly unexpected for a rock band in 2020, and that makes it all the more remarkable: for Creeper, it’s their most astonishing and liberating move yet.

This is a second album that builds upon the foundations they’ve laid so far and opens up their world to all manner of possibilities. If ‘Dogrel’ promised that Fontaines DC were gonna be big, it’s with ‘A Hero’s Death’ that they prove they were worth the hype all along.

From the wonky stomp of ‘Double Denim Hop’, through the ballsy vocals of ‘Stockholm City Rock’ to the unashamedly massive riffs of recent single ‘Hollywood Actors’, frontman Tom Rees doubles down on the things that clearly make him tick.

While the troubles are integral, ‘Pain Olympics’ also manages to find moments of lightness and creative joy throughout.

‘LLH’ finds its strengths in restraint and the spirit that flits between musicians in the live setting. Her most satisfying and complete work to date.

This is 2020 in pained, reverb dripping sound waves. This is the isolation. This is the pandemic. This is everything. The doom may have arrived, but at least Protomartyr are back in our lives.

Pushing nearly 30 years in the game, JARV IS... still an absolute one-of-a-kind.

The 19-track remix record has elements of bubblegum-pop, screamo, rock, pop, hip hop and pretty much every genre you can think of, creating an album that is a masterpiece in its madness.