At its core, the record continues the thing that made them so exciting in the first place – chaotic, brilliant curveballs that capture the confusion and commotion of life right now.

This record is a striking reminder of why Shygirl is one of the capital’s brightest talents.

An album of reinfatuation and reaffirmation, ‘Fossora’ is invigorating in its drive, if there’s little of real surprise here; hard as the mushroom-gabber beats are, if you’ve heard Pluto or Mutual Core, you won’t be shocked.

‘The End, So Far’ may rattle many of the metal faithful, but for the prowess and lasting impression of this record alone, this is a true Slipknot record. It’s unlikely that many fans who’ve been along for the whole ride would jump ship now.

‘Doggerel’, in its hospitably decanted way, is every bit as transportive and absorbing as the early records, and further proof that Pixies’ music remains the alt-rock gold standard. Swill it around and savour.

With ‘Cool It Down’ the trio disregard expectations with ease, bursting through conjectures with tracks that make the apocalypse sound fun.

Sparks and fireworks go off all over ‘Typical Music’ too and, bar a few inevitable misfires, there’s plenty to gasp at.

It would have been easy for Courting to play it safe on ‘Guitar Music’, but by challenging both themselves and their scene, they’ve guaranteed longevity and arrived with one of the year’s greatest debuts.

A cocky, self-assured record that blends Sports Team’s chaotic energy with a smart, heartfelt understanding of the power of guitar music.

‘EBM’, then, goes some way to bringing the seasoned band back to what they do best, all the while pushing things forward.

On ‘Born Pink’, BLACKPINK tread familiar thematic territory for pop music, but the imagery – finding solace from heartbreak at the bottom of a bottle (‘The Happiest Girl’), boasting about being the type of girl you take to your “mama house” (‘Typa Girl’) – isn’t particularly novel, though they have effectively applied a personal touch in the past (see Jennie’s ‘Solo’).

Maya Hawke might not be preparing to go back to school, as the character at the heart of this record would be but, if she were, ‘Moss’ would guarantee her top grades.

This is the sound of a band at their most confident, capable of still pushing the boundaries they seemingly reimagined years ago without overwhelming audiences with their own love for endless improvisation. There are no lyrics on this album, but it feels like you can hear these three musicians louder than ever.

With ‘God Save The Animals’, these genre-resistant idiosyncrasies remain, though a few moments shine through with newfound clarity and vulnerability. Across the diverse and consistently excellent 13-track record, he hops between styles, perspectives and energies with abandon.

Genres may come and go, but Sawayama’s second album is defined by her ability to fashion each of these sounds into big, brilliant pop songs. The best British pop album of the year.

Mura Masa has again pooled disparate guests and sounds to make a record that is somehow both steeped in a sense of curation and individual to his artistic identity.

Blake Mills’ production is exquisite throughout what is Mumford’s most crafted studio recording to date; this album is a career-best for the musician. While it is undoubtedly an emotional and often heart-breaking listen, it’s also a record full of defiance, hope and faith.

This is a Suede record, so there are moments of aching majesty – see the tormented ‘It’s Always The Quiet Ones’, ‘Turn Off Your Brain And Yell’ and the hopelessly devoted ‘What Am I Without You’ (which sees Anderson giving himself to his fans) – but, all in all, ‘Autofiction’ finds the indie greats getting back in the garage to make a racket.

This isn’t just a striking return for one of the most individual bands of the last 20 years; it is, musically, an astounding masterpiece. Their finest hour? Quite possibly.

Shedding old skins with jubilance, ‘Expert in A Dying Field’ is testament to the belief that better things are always yet to come. For us as listeners, they’re already be here.

‘Asphalt Meadows’ is as assured and stately as you’d expect and hope for from indie veterans now 10 albums and 25 years into their career, but this beaut is as consistent and satisfying as their early-mid ‘00s career peak.

It’s a fizzing piece of hard-rock magic.

The results are beautiful, moving and – regardless of subject matter – brilliantly inventive.

Spirituals’ gets more brutalist as it goes on, weaving its way from tropical space-pop through cosmic reggae to the gothic R&B cranks and coils of ‘Ain’t Ready’ and, finally, to ‘Fail First’, a wonderfully New Order-ish concoction of indietronic chug, industrial grunge guitars, spectral cheerleader chants and punkoid yells.

‘I Love You Jennifer B’ is the product of a voracious appetite to find the gaps in between the familiar, a record emblazoned with such pristine, disorienting, unsettling originality that at first, you don’t quite know what to do with it.

If Two Door are to hold onto anything from ‘Keep On Smiling’, it should be the playful, curious moments that convey a sense of fun, even if that’s deceptive. When things get serious on this record, the band stumble and the smiles begin to slip.

His most confident, cohesive album.

Where it works best is that clear marriage of anger and aspiration, interwoven with Furman’s melodic drawl, musical tenderness and reverb. In parts, though, ‘All of Us Flames’ is an example that sometimes less is more.