It’s hard to say if it is necessarily ‘better’ than its predecessor, but Endlessness is yet another incredible, standout record from arguably the most gifted jazz musician her generation has seen so far.

So while the year 2020 mourns the loss of good live music, Ohmme swoop in with a refined and immersive dose of chaotic pop rock, and it’s very satisfying.

This is a record which feels familiar and safely experimental, while Williams reveals more of herself than ever before. Just exactly who that is isn’t yet certain, and where she’ll go from here is anyone’s guess, but it’s sure to be interesting.

Slaughterhouse is one of the most vital and animal rock records in a recent memory.

Though it may be a bit brief or spare for some, Roxanne’s hand on her sound is tighter than ever. While it’s on, Because of a Flower gives us a glimpse into a very specific world of sound — aquatic, earthen, and airborne, all at once — and it is a treat to get lost in.

Anthemic, emotional, powerful – The Tipping Point is a very good record.

Nothing here quite reaches the fizzy highs of something like “Come Together” or “Hey Jane”, and he can’t quite recapture the slow, sad, and syrupy balladry of past tracks like “Broken Heart”. But he can still kick up quite a storm when he wants to, and though perhaps a bit too streamlined for some fans, this is another fine album in Pierce’s and Spiritualized’s repertoire.

Headlights solidifies Alex G’s gift for tapping into the familiarity across our individual experiences. His melodies are oftentimes warm and inviting while also imbued with quirky flourishes that evoke a potent nostalgia. His lyrics bring to life scenes that are specific, relatable, and very often painful.

Each track on Nothing To Declare feels like a condensed, expertly-aimed Hadoken of fun, furious energy.

Each track very much lives and breathes in a world of its own, all while coming together to present a cohesive feeling.

Origin of the Alimonies is an astonishing piece of work that leaves the listener breathless and euphoric. It is haunting, stunning in its ambition and scope, and a rapturous piece of art. It is beautiful, brutal and bruising. It is challenging, pretentious and uncompromisingly complex. It’s ace.

Ekstasis is a challenging listen, but a rewarding one.

Celebration Rock is in perpetual motion, driven by a visceral sense of urgency that most modern guitar music is so sorely lacking.

Beginning with another Strokesian riff, Geese build momentum for a catastrophic finale and deliver the goods in an almost Deerhunter via Monomania-like fashion, before abruptly pulling the plug, and ultimately leaving us wanting more.

His continuous work positions him as the Bob Dylan of the alternative rock era, and By The Fire sums up every aspect of his artistry.

Furling is a surprisingly dense record, its sonic pallet feeling deep and widescreen, even in its sparsest moments.

The two divergent halves of the album never intermingle and propose two very opposite visions for what Underworld aim to achieve, yet there’s not really a single bad track here. Still, the tension remains, and can never quite dissolve.

These nine songs will still speak to those willing to listen, speak of the arrogance of those claiming superiority, of the delusion of lovers and anger of those left by the wayside; of the loneliness of the mortally confused, and of the jealousy of those left behind.

Songs For Other People’s Weddings is a hefty undertaking like any full concept record of this sort should be, but it’s also equally charming and delightful all the way through.

TNGHT may clock in at under 16 minutes, but it's the most satisfying quarter-hour blast you'll hear this year.

The Bible is undoubtably one of Lambchop’s most mature records, but it is also one of their most honest, most unguarded in its emotional and historical perspectives.

King Woman perfects the approaches outlined on Suffering here, constructing soundscapes that are gossamer and pummeling, sparse and layered, heavenly and apocalyptic.

Lament is not the harsh noise monster that might be expected from this team up. In fact, it’s turned out to be the band’s most accessible album yet.

Undeniably their most vulnerable and exposed album to date, Tomorrow We Escape sees Ho99o9 infuse an ethereal, melancholy softness into a sound they’d already established and mastered.

At heart, it’s all too modest, too fatigued, too lacking in ambition and attitude.

Here he has never sounded more confident and purposeful, building layered and incredibly rich compositions out of his blissful loops that more than justify the length they inhabit.

Ugly is so rich, so dense, so full that you forget there's just three of them.

It’s all put together under one roof in a neat, unassuming way, made refreshing and palatable by his persona.