It’s musical exorcism at its very best, rallying against socially-imposed doubt and anxiety and - in its unique horror - finding welcome moments of inner peace.

A dystopian, focused pessimism that sounds (unfortunately) exactly like the world outside, but doesn’t sound quite like another band on the planet. A perfect soundtrack to nagging doubts and creeping realisations.

After Saturation's freewheeling spirit and an insatiable appetite for fun, Iridescence had to confront the past nine months, and make a statement as to how the band move forward. It does so emphatically.

While some might mourn the loss of their one-time raucousness, ‘Gigi’s Recovery’ shows that their momentum swings only forwards.

Aat large, the album is a quiet predator.

A bright, well constructed and boldly vivid first outing, showing a first rate ear for instantly osmosing melody, this debut is written for the Christine in everyone.

There’s a track or two that don’t add much to the album’s direction, ‘Maggot’ being one of them. But on the whole, this feels like Amyl and the Sniffers finding their purpose. It’s something to behold.

All three members are now capable of operating on a different standing, and when I See You strikes best, it’s when these level-ups lock limbs.

Jack Antonoff’s fingerprints are easy to spot. The producer layers Taylor’s intimate stories with electronic drums that push certain moments to understated crescendos.

Deafheaven finally look comfortable in their many different skins, their opposing worlds gliding together seamlessly, able to change between brutally heavy and light as air in seconds.

It makes for a quiet reinvention in the face of adversity, with Le Bon as stylistically light on her feet as ever.

Accompanied with her scatter board samples and untold charm, ‘Juno’ is a resounding celebration of existence and Remi Wolf is the MC.

In short, Silences is the sound of an artist grown tremendously in confidence and hitting her stride.

‘Model Citizen’ takes everything that has driven the scene forward and injects an unapologetic - and very welcome - Gen Z spin.

It’s a record that does more than just pitch him just leagues ahead of anyone else in the game; it’s a portrait of a man who’s more than happy to invent a whole new one.

Laura Marling crafts yet another hard-to-pin, experimental, statement. A shape-shifting artist who never pauses, the record patters quietly away in a flurry of footsteps and birdsong, as the elusive morning finally arrives.

Less wildly daring than its predecessors, yet remaining totally assured in its vision, ‘Seeking New Gods’ stands as another finely-crafted addition to Gruff Rhys’ illustrious repertoire.

It all works together, amping up the winking, cheeky side of country while also showing CMAT to be an artist enthralled by the genre but not beholden to it.

Suede maintain their magnitude through emotional craft - single ‘15 Again’ is the perfect microcosm of ‘Autofiction’’s ups and downs, its euphoric chorus built around painstaking regret. In essence, ‘Autofiction’ finds Suede still fiercely in motion.

A truly seminal record, ‘Ultra Truth’ is a radiant voyage for Daniel Avery, and for everyone who dares join him for the experience.

Measured and calm where ‘I, Gemini’ was erratic, and packing some of the strongest pop punches we’ve heard in yonks, Let’s Eat Grandma look like they could go anywhere from here.

For those who missed the rabble-rousing of ‘Dogrel’ but liked the darkness of ‘A Hero’s Death’, this record splits the perfect difference, sealing it along the middle with the superglue of a band who now know exactly where they’re going. Truth be told, they’ve never been more at home.

For the most part this is a flawless, breathless lap around both pop and "underground" music. 'Devotion' is the sound of modern pop, modern love - and heartbreak.

‘Classic Objects’ walks the line between art and humanity, between nature and fabrication, between the real and the conceptual. It’s the audible equivalent of a painting affixed with human hair.

Each track feels like a different corner of Pusha T’s mind, all coming together to form a complete brain, glimmering with glitz and glamour on the surface and exploring darkness and deep thought below. If this is ‘The Prelude’, imagine what Pusha T can do with the rest.

Muchacho is a record which can soothe even the darkest nights and moods.

Totalling eight songs and clocking in at just over 30 minutes, Two Parts Together feels surprisingly well-rounded and complete, with strange journeys taking place within each track, and enough crunch to keep things exciting right up to its thundering climax.

It’s unlikely to win over the naysayers, but, for those already enamoured with their kitchen sink Dadaism, ‘Stumpwork’ is yet more magic from Dry Cleaning.