Ferocious and feral yet exhilarating and energising, this is music that will reverberate through your bones. One to play loud and ignore the world outside. And boy do we need that right now.

There are times when the producers’ imaginations seem to be tearing at the seams a little, pulling as they are in so many different directions at once. But these are minor critiques in an album which does so much so successfully, and whose ambitions soar so high above so many of its influences, that it more than makes up for the four-year wait.

‘In This City They Call You Love’ is an album of universal themes and tones, and one of Richard Hawley’s finest.

‘HEAVY JELLY’ is wilder, faster, heavier, more frenetic, and downright hilarious that anything they’ve done together before. Both cartoonish and extreme, it’s a cycle of songs that are both heavy duty and utterly ridiculous.

For those who weren’t able to attend or for those who wanted a cheeky throwback to watching the gig that night, ‘blur Live at Wembley Stadium’ is an exhilarating celebration of the band’s barnstorming gig on the Sunday night.

Inevitably there might be some that call The Heavy Heavy overtly nostalgic but when they are capable of producing such beautiful and layered tracks, it is hard not to be swept along by the band’s tightness and breadth.

‘Real Deal’ is more mature, both in sound and lyrically, leaving behind the blushing self-consciousness found on their self-titled debut with tracks like ‘Female Lead’ and ‘Creative Jealousy’.

Through Hayden, Ness Speaks – and it’s quite unlike anything else you’ll hear all year.

Here, he isn’t playing a role – it’s fun, vibrant, and deeply trippy songwriting, well worthy of praise on its own lofty terms.

As is often the case with such acts, the anarchic energy doesn’t quite translate to their debut, ‘Hot Shock’, but it nevertheless serves as a largely enjoyable opening statement. The most interesting moments arrive at the back end of the record.

This is a debut that is hard to describe and that works in its favour, it is a fascinating listen that defies categorisation but never derails.

‘Lust For Life, Or: ‘How To Thread The Needle And Come Out The Other Side To Tell The Story’ is infectious, driven by passion and fun, yet built with clear intentions.

‘The Universe Will Take Care of You’ is a delightful album – the melodies are strong, the tones are great and the overall feeling of togetherness and optimism carries on after the album finishes.

‘Loner’ is an accessible and creative collection of colour-splattered dance music whose myriad delights feels all the more impressive for the fact that, like all the best parties, it doesn’t even seem to be trying to be as fun as it is.

It’s a wild explosion of ideas, to the point where it could be argued that, when taken as a whole album, it lacks a bit of shape or finesse. Regardless, the fascinating production work by its skilled creator and a frankly ridiculous selection of guest features makes ‘Beside Myself’ a singular descent into vantablack-coloured dystopian club-tronica.

With the album being centred around the concept of time, ‘Carving The Stone’ feels like it will stand the test of it.

A comforting, cathartic playground for disco, funk and cross-genre collabs, Sophie Ellis-Bextor comes into her own on ‘Perimenopop’.

It’s a good effort in their catalogue with some shining moments, but it’s unlikely to invite those in who aren’t already fans of the band.

‘Juniper’ is a playful, exploratory and incredibly clever record – dealing with themes ranging from falling in love, mental health, music industry critique, politics, and self-love.

Never a band to shy away from making their songs as huge as possible, their fourth record features some of their most monumental tracks to date.

Two years on from the initial release of ‘Norwegian Wood’ – cue an onslaught of media attention, baseless industry plant allegations and Courtney Love’s stamp of approval – Picture Parlour have honed a sound that feels admirably self-assured and truly authentic.

‘Goldstar’ has all the ingredients needed to propel the six-piece outfit into the mainstream, whether they like it or not. Thrillingly weird and wonderful.

A refreshing and undeniably strong record.

Closing on a magnificent note, it pulls together the threads on this incredible tapestry of work, a complex but warming achievement, one that feels just right to pull around your shoulders on these cold winter days.

‘Endlessness’ is a remarkable record, a project that borrows from dozens of voices while communicating in only one. Somehow eclipsing the magic inherent in her debut, ‘Endlessness’ finds Nala Sinephro operating in a creative universe of her own.

Blending elements of footwork, noise, broken beat, neo-classical and experimental, the Indiana artist has crafted the sound of a far out utopia, inhabited with fear, euphoria, bliss and anxiety.

It is captivating. What is more, we’re listening to every note and hanging on every word.

It’s one of the most disturbing, hilarious, and unexpectedly touching records of the year.