This is one of modern rock’s very best kept secrets at their peak, a band on the brink of sold-out stadiums.

The band's strengths are here in abundance, but they are reimagined, twisted into new shapes and given a visceral intensity that is utterly irresistible.

An album of consistent high quality and endearing personality, Petals Have Fallen might have missed the deadline for a 2014 Mercury Prize nomination, but with ‘Dead’ and ‘Everybody Down’ making this year’s list, it’s worth popping a tenner on this exceptional LP matching their shortlist status in 2015.

It’s certainly frustrating at first, especially if you’re expecting another dubstep masterpiece. But it grows on you given openness and attention – the kind of attention that Burial has earned through years of consistent brilliance. Love it or hate it, ‘Antidawn’ is one of the most unique releases you’re likely to hear in 2022.

‘The Great Impersonator’ is both deeply personal and sharply relevant to wider pop culture, quietly contributing to conversations being had by, and about, Chappell Roan, as well as those that have followed the death of Liam Payne.

Less of a debut and more of a bookend, it listens like an aural autobiography of Greene’s influences and productions, a release that will satisfy old fans as well as find new ones without compromising the clarity of his vision.

Through channeling their frustration into their craft, Boston Manor have not only made their finest album to date, they’ve lent a voice to the disaffected youth of modern Britain at a time when that is sorely needed.

This is written by someone who’s a kid right now, about what it is to be young right now. Consequently, this isn’t a “you” and “I” album. It’s a “we”, “us” and “them” album.

The album’s potential top-shelf contenders form a tight three-way tie between ‘Mike Tyson Blow to the Face’, ‘Chains & Whips’ with Kendrick Lamar, and ‘F.I.C.O.’ alongside Stove God Cooks. Clever use of a cappella negative space and boom-bap-style drums (‘M.T.B.T.T.F.’), lyrical density (‘Chains & Whips’) and boots-on-the-ground storytelling (‘F.I.C.O.’) make this trilogy stand as not only as some of Clipse’s strongest material, but also as some of Pharrell’s finest production in years.

The maker and breaker of neon daisy chains, 'Galaxy Garden' is a fantasia that's as lush as a chain of soap shops.

Remarkable. ... The 12-track project explores the collapse of a marriage, financial turmoil, anxiety, self-doubt and self-care. A lesser rapper might sink in the mire, but Open Mike has always been dope on the mic, and ‘Anime, Trauma and Divorce’ find him at his best.

They're offering something new with 'MUNA' - evolving, inspiring, and taking us along for the [horse] ride.

On her third album, the view has swung from microcosm to breathtaking panorama.

It’s a beautifully sunny, unashamedly melodic tour de force which pitches up somewhere between a fevered Beatles obsession and a well-loved pile of Go-Betweens records.

As a rapper, woods has gone from strength to strength, his armoury fortified. It’s been a joy to witness. Where hooks were once short phrases bellowed on repeat, now he toys with the capabilities of his voice.

You can hear the size of her thoughts and desires on this truly stunning record, this genuine opera. They are as big as the universe and everything in it.

Khruangbin didn’t need to change much on this album, the sound they produce as a unit is still fresh, exciting and uniquely life-affirming.

Adele is sincere, poignant and affecting throughout; the emotive 'Someone Like You' closes the album magnificently.

Young, yet somehow void of naivety. Vibrant, yet artistically matured.

That a record so dark and ripe with nuance can also harbour such blatant pop sensibility belies the duo’s young age while serving as a testament to their rampant eccentricities.

Further proof that The Arcade Fire may indeed be the best band on the planet.

An awesomely designed underground rising.

At its best, ‘Ruby’ is an exhilarating listen that proves Jennie is capable of much more than she’s been given credit for.

This is mood-manifesting music of exceptional quality, experimental electronic fare of substance and, crucially, heart.

Brilliant stuff is still very much spooling out of Thom Yorke. His voice is revelatory on these tracks, better than ever, a peerless instrument; buttery and mellifluous in falsetto, snide and viperish on the growly bits. His magpie instincts for a tart one-liner remain razor sharp.

The music is engaging, yet thought provoking. It sounds unlike his previous three releases, but there is a continuation of ideas throughout. It’s an album from an artist who doesn’t pander to trends and goes his own path.

It’s majestic and beautiful in ways I never expected black midi to reach, let alone attempt.

The album's arrangement of serenading beats and jazzy undertones has genuinely proven that Kehlani is a force to be reckoned with.