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.

Granted, at some points it does feel a little unrelenting, but the sheer ferocity of this record illustrates a band intently focused on the future, and breaking through to the next level.

For a record titled ‘Messy’ it could ironically do with being a little less neat and tidy.

Dave Longstreth conjures up something resembling a clear picture from all the record’s wildly disparate elements, and ‘Dirty Projectors’ serves to unify his most experimental moments with the door-opening impact of ‘Bitte Orca’.

The vocal interplay meshes with the restless instrumentation and some of the most layered and considered storytelling that anyone could ask for. For an agitated, hyper collection of weird songs about made up or distorted topics TFS come achingly close to the total package.

Even with a debut album, their ascent has been so steep the opening salvo feels like a premature greatest hits.

As impressively considered as the group are when it comes to their compositions, they evoke a cold feeling of invulnerability within their music that’s hard to avoid.

‘Printer’s Devil’ is the sound of a band who seem to have had a significant boost in their sonic confidence, even if Julia’s words are as fraught as ever.

Taken together, the albums are overwhelming in their stylistic diversity; one minute, she’s serving up clattering electro on the likes of iii’s ‘Skullqueen’ or ‘Ripples’, and the next, we’re hearing her break classic ideas of what ambience should mean to fit her own mould on the Oliver Coates-featuring ‘Esuna’.

Sugar & Spice cements her as the modern day successor to dream pop titans Cocteau Twins from the get-go.

While it’s about as colourful as the phantasmagoric cover art suggests, it might have sounded a bit more grounded if the band weren’t given the keys to so many synthesisers and effects pedals - and Kevin Parker’s heady production only makes it even woozier. Beneath all the superfluous sonic meddling, though, it’s still a voyage worth beholding.

The results are quietly overwhelming.

Re-emerging with off the grid mystique, Torres retains the grit of past efforts while doubling down on off-kilter charisma, securing a slick slice of alt-pop; her most complete and consistent yet.

It’s Real is at its best when the trio let loose and steam ahead with out-and-out rock and roll; the breathless ‘Cosmic Cave’ and assured strut of ‘Good Times’ suggest that catching Ex Hex on the road this year will be every bit as essential as last time out.

Dead & Born & Grown is a record perfect for those long dark winter nights, an emotionally rich collection of songs that deserves to put Watford firmly on the musical map.

Sure, there’s fewer marimbas on offer here, but Dutch Uncles have still served up a finger-lickin’ feast.

On Bad Witch, Trent Reznor has curated a feeling, an atmosphere, an idea.

For Yoncalla the band finally recorded together. You can hear it. It’s the sound of a band in room.

Amid an existing height of musical Afrofuturism, ‘Sweet Justice’ is a crowning achievement - an assertion of self through distinct and precise perspective at the apex of a movement.

This is a record which will no doubt appeal to long-term fans of the band as it revels in the same sonic territory as their previous output, and it works as a party-starting soundtrack with its simple lyrics and vitality, but there's a distinct lack of any real depth or enterprise.

It's a fine debut.

It’s a feel good album, not through cynical design, but just through making whoever is listening feel good.

Resisting the twin urges to oversimplify or over-complicate where inappropriate, Vessels may have succeeded in making one of the smartest and most beguiling electronic albums of the year.

Kill The One You Love is a record built around hope, and around finding the optimism in fatalism, and the inevitable freedom that comes with such a discovery. As such, it feels much less a debut, and far more an aphorism from the mouths of a band wise beyond their years.

Whenever debut LP neo swerves close to normality, these formula-shunners tear things to shreds.

An intriguing new chapter from Emmy The Great that carves out a world you can dive into.

‘Abomination’ is a singular debut and quintessential cultural capsule - of both post-post-punk and gay modernity - from one of the UK’s most fearless off-piste queer acts.

Taken together, the albums are overwhelming in their stylistic diversity; one minute, she’s serving up clattering electro on the likes of iii’s ‘Skullqueen’ or ‘Ripples’, and the next, we’re hearing her break classic ideas of what ambience should mean to fit her own mould on the Oliver Coates-featuring ‘Esuna’.