It's one of those albums you could listen to again and again.

We can’t choose how we’re made but we can choose what we make, and what Against Me! have crafted here is nothing short of exceptional.

Puberty 2 leaves no stone unturned in its attempt to make grim tales seem even worse than you could possibly imagine. It’s a brutally tough shock to the system, one that will leave its trace for years to come.

By opening up their songwriting process, the band have managed to carve out an even more singular sound. The possibilities from here seem endless.

Howlin' Pelle and co... have returned with the pomp, charisma and contagious sense of fun they're known for, with a surprising variety added in to the mix.

A riveting fullness echoes throughout the record.

‘Breaking…’ offers up a feast of exuberance, standout track ‘Riots and Jokes’ musically epitomising the album’s forward-charging freedoms, and neatly sums up Quasi’s modus operandi there in its very title.

There are a couple of misses, particularly ‘G.O.A.T’’s obvious attempt at a sports montage soundtrack, but largely ‘Happenings’ is full of genuinely interesting choices. Free to indulge all the multitudes of his tastes, Pizzorno is managing, against many odds, to keep Kasabian moving forward.

Leaner, more menacing, but still quintessentially Weaves, Wide Open does what it says on the tin, in the best possible way.

This is a clever, sophisticated album that still oozes warmth and affection. Superficiality and loneliness have never sounded so tender and dazzling.

It still has the eccentricities that make them such an intriguing band, but without compromising on these elements Tune-Yards have still made their most accessible, danceable and thought-provoking album to date.

The overall ethos for this collection of songs is that less really is more. Leading to an absolute triumph of a record. Incredible songs, performed with honesty and passion.

For everything that's come before, For All My Sisters feels like another step up. [Mar 2015, p.71]

He may know damn well how to deliver a banger, but also when to tone it back a bit too. Though it may not all hit hard and there are some sonic kinks that could’ve been ironed out, when it does hit, it’s impossible not to be swept up.

'MTMTMK' may not quite carry the same dazzling shock of hearing something truly different in the way their debut did but it is certainly an album that carries on the spirit of the debut while progressing their sound at the same time.

An album that has no shortage of huge highs.

Where ‘Designer’ had shade, ‘Warm Chris’ offers light. It still feels bizarre, like stepping inside a doll’s house or a hall of mirrors, but it’s less garish, and ushers back in some of the vulnerability of ‘Party’.

Aidan’s scathing wit is more incendiary than ever: the vivid, often lurid portraits he paints of the society around him feel more vital than ever, as does his ability to navigate them with a grim chuckle.

He’s decided to take things a little slower, in the process creating his best, and perhaps most coherent, album to date.

Lyrically, it’s a scattered series of ruminations on the end of an era, with anger, guilt and sadness all permeating its fabric. Musically, though, it expands the singer’s palate, transmitting these feelings via new, punchier textures.

It’s weird and brilliant, and anything but regressive.

While the maelstrom of noise doesn’t let up at any point (with guitar feedback providing a segue between each song on the album), it is only a veil for the strong songwriting that lurks beneath. An emphatic debut.

Each song feels like a separate vignette, but putting your finger on the exact theme isn't easy; more often it's left entirely to the interpretation of the listener.

Despite clocking in at just under 52 minutes, never does ‘BUTU’ feel anything but relentlessly frenetic fun. From its breakneck bonkers energy, to the more slowed-down moments, this is absolutely one for the ravers.

A little bit cocky at times, sure, but with the tightness to back it up, Night People feels like the band’s most natural and accomplished step so far.

Melancholy, meticulous and achingly grand, it extends his artistic narrative in resplendent form.

As on her previous albums, what makes Eleanor’s songwriting feel magical are the stories she tells and the tiny details she drops in.

Fast Food is pretty successful in capturing the ups and downs of complicated relationships. The fact it manages that in a way which is neither hackneyed or predictable is near miraculous.

With Hold On To Your Heart the trio have crafted another bold and brilliant album which soars higher than ever before.

Torres is a promising, impassioned debut.

White Lung push themselves to every corner of the universe on Paradise, presenting a beautiful vision of 22nd Century pun

Although playful in a creative way, this is a serious album.

This album is about taking control back. It does it with conviction and vigour, with squalling guitars and wiry bass lines.

A restrained pace imbues the album with a feeling of deep sedation. It’s a blissful listen from start to finish.

The one constant success of her sound is her ability to jump from one song to the next in a way that rarely seems jarring; it’ll serve her well to keep the multi-faceted nature of her sound from here on out.

Fading Frontier draws a new line in the sand, and it could be the beginning of a more direct and big-thinking Deerhunter.

Ten years in, it’s unmistakably King Krule, yet somehow even broader, denser, and crucially more enticing than what has come before.

From the shifting tempos of ‘Copper Mines’ to the serene beginning and raucous math-y crescendo of closer ‘Hold Your Own Hand’ When You Walk A Long Distance And You Are Tired is never settled, and never should be.

This slight maladroit as Wednesday’s styles jostle for attention doesn’t affect the record – and in fact, the ‘what we know now’ adds to the emotional heft Karly has already displayed a knack for conveying.

Don’t Let The Kids Win shines brightest for its clear, and charismatic narrative voice.

Pursuit of Momentary Happiness manages to harness even more of the band’s unpredictable live energy while careering between boggle-eyed riffy bangers and booze-sodden self-reflection in truly inimitable fashion.

Well and truly living up to his aim of creating a timeless classic, ‘Twin Heavy’ sees Willie delivering a more concise and cohesive record than his previous, leaning into a more distinctive sound and crafting an album that shines throughout.

I Had A Dream That You were Mine is a record that manages to capture that closeness and intimacy perfectly.

She takes a bold, explorative leap into the centre of her own mind.

Wilfully experimental and typically fluid, Drift is an album that will keep you on your toes.

The instrumentals are lo-fi but bear a charm, and find Kele offering up his best guitar work in years.

It’s at times heart-stopping and at others movingly barren, but is always thoroughly arresting.

The slow crawl of ‘Acid Rain’ and closer ‘Baton’ offer tender moments of relief on an electrifying second record on which Model/Actriz utilise chaos to amplify moments of vulnerability.

As a trip of just over an hour, Singularity is varied and consistently compelling.

What could have become overly sentimental instead presents as subtle and sincere. The sincerity is elevated by their understated tones, harking back to the beauty of Elliott Smith but swept into now by crisp production and experimental flourishes.

[Sun] is never less than intriguing, and more than often, grabs you by the heartstrings and pulls you in.

Distinct, crooning and softly beautiful, ‘Running With The Hurricane’ captures a snapshot of intimacy, thriving friendships and a profound understanding of the human condition.

An album that has clearly been constructed with immense care, ‘Animaru’ makes Mei’s supreme efforts crystal clear.

It’s simultaneously euphoric and angsty.

It is a dynamic and sensual album, rich with imagery, peppered with romance, and imbued with joy.

‘Found Heaven’ does, at times, feel a bit like you could play ‘iconic ‘80s songs’ bingo. .... But, when his influences are worn as heart-on-sleeve as they are here – and, crucially, are executed as well – the overall effect is one of knowing homage rather than tribute act.

Beyond the flute solos and mind-blowing euphemisms, there’s rich invention behind This Is All Yours.

A unique record that puts a contemporary spin on an era that modern music forgot.

PUP leap and bound through fields of melancholy, finding balance between bittersweet lyrical tales, upbeat pop-punk foundations, and lingering emo influences. Tracks like ‘Hallways’ and ‘Best Revenge’ play with atypical nuances where elements of pop and indie rock make the genre - which can often feel stale - fresh.

Perhaps her most personal, but also her most diverse.

High as Hope is an album that takes solace in those closest to her, works to right previous wrongs, and sees her come out the other side a whole lot stronger.

With their sixth studio album they bolster an already impressive catalogue with intricate explorations of the self in an ever-shifting world, accepting the inevitability of change and offering the solace of a shared community to an always-growing fan base.

Though unlikely to win over those who weren’t already fans, ‘sketchy.’ is a more mature offering than previous Tune-Yards records though still retains much of the tripped-out whimsy that first made them so infectious.

Minor quibbles aside, ‘Never Exhale’ is a gripping exercise in textured menace.

Even as Lucy deals with massive topics including death, hope, and major life transitions, she offers listeners entry points back into their own worlds, all while strengthening her already taut grip on rustling, soul-blemished rock.

It’s a truly cathartic listening experience, driven by the belief that our darkest moments can only be alleviated if we sing about them beautifully enough.

A fine album of rich, smooth, sunset-songs.

Their newest full-length feels both quintessential and refreshing, a modern classic which sees the band growing into more confident versions of themselves.

There’s a great and clear leap forward this time around, but this still has all the cornerstones of what drove so much attention: the ability to lull listeners through power pop or be taken in dreamlike trances, lyrics that take you on new journeys with every listen.

Buoyed by newfound feelings of hope and of anticipation, the record feels more encompassing than anything the band have released previously. This is a result of a more direct and collaborative effort, with producer Danny Reisch adding extra layers of synth and percussion to really flesh things out.

It’s stripped back and assured in its simplicity, yet operatic and beautifully composed. Oh, and it really is truly miserable.

‘DEACON’ confidently celebrates love in all its spiritual glory, with an unwavering focus on the good. In his sweetest moments, serpentwithfeet’s joy is palpable, paired with an unwavering sensuality that underpins each of the album’s eleven tracks.

Yet again, Deftones have created a real beast of a record while still showing glimpses of its heart.

A remarkable sense of energy courses through the 11 tracks of ‘Magic, Alive!’.

Perhaps best of all is how direct the whole thing is, typified by ‘Glass Eye’, on which the outfit’s uncompromising sound brings sonic clarity while sporadic backing vocals offer classic ‘90s boyband echoes. A solid record.

Shopping want to be moody and want to be fun; they want to be taken completely seriously and want you to laugh with them. Though the album switches between states of feeling, it rarely drops beneath being anything less than brilliant.

The latter half of the record segues together without pausing to come up for air - and you can bet your bottom dollar that once ‘all this’ has blown over and live music returns, these tracks will come into their own. Until then, crank up the volume and stomp around your prison cell.

Here Dana’s lyricism and delivery land closer to the depth of feeling of Sharon Van Etten or Weyes Blood (‘Wednesday’; ‘In A Dream’), their evolution over the album’s course reflecting its slow but sure tilt towards thematic light.

Re-emerging with off the grid mystique, Torres retains the grit of past efforts while doubling down on off-kilter charisma, securing a slick slice of alt-pop; her most complete and consistent yet.

Xiu Xiu have recorded a 12th album that is an interesting listen, but rarely an easy one. It’s unlikely to win them any new followers, but existing fans won’t be disappointed.

This debut album scraps coherence and convention and prioritises the more vital values of music; making songs that are both accessible and rinsed in invention.

If straying always leads to things as great as this, Iceage should continue veering from the path.

The album is a cohesive combination of touching sentiment and purposeful release--it’s a big progression for a group keen to open new doors.

Ever cathartic, this third full-length from Will Westerman is an elegant, mood-filled wonder from the off.

Days Are Gone confirms what everybody already knew in fabulous style; that Haim are the band to shout about.

Though the London band don’t exactly attack in a fist-raised blaze of mega-riffs, they hit hard all the same with quick, sharp, and consistently executed blows of effortless songwriting.

Soft Will marks Smith Westerns moving into another realm of quality and experimentation, and, to put it quite simply, this album is just a complete pleasure to listen to.

A listen that encourages looking inwards and coming to the kind of realisations Welsh himself has poured into the album, a record it’s impossible not to be swept up by.

Doing it with a little help from his friends, he's easily landed on his best album yet, out of any guise taken on in the last 10 years.

An invigorating, thrashing effort - which is ultimately also a lot of fun - ‘Glow On’ shows off just how innovative hardcore could become.

Enduringly addictive and devoid of arty pretentiousness, MIEN is evidently an album made by true connoisseurs of psychedelic music both old and new. Like-minded audiophiles will find plenty to cheer about across these ten tracks.

Weaves is a whole lot of fun, from the deliciously raucous standout ‘One More’ to the delicate ‘Eagle’ via the whimsical ‘Coo Coo’ and the Pixies-ish ‘Two Oceans’.

At once bleak, grey and obsessed with morbidity, and lush, blooming and gorgeous, it’s great to have them back.

‘URGH’ sees Mandy, Indiana once again defy any pigeonholing, demonstrating an unabashed growth that still stays true to its insurgent roots.

Overall, ’High Road’ is an overwhelmingly triumphant pop offering that sees Kesha back at her best and having shit tons of fun while doing it.

In typical Soccer Mommy fashion, there’s little flashy footwork to be found here; only expertly-shaped understated songs that give more with every listen. Stepping beyond the groundwork of her debut collection, and sounding all the more confident for it, Sophie Allison shoots, and she scores.

It’s verbose and it aims high and it’s not a record you can stick on in the background while you play Candy Crush. But unplug from this modern game of life just for a little while and it’s a very, very special reward indeed.

Bella may not have enjoyed bringing ‘Quarter Life Crisis’ to life, but in facing her insecurities head on she chips away at the pristine Baby Queen polish and pairs her distinct brand of pop with real substance.