An album that manages to be both delicate and thunderous at once, ‘I Slept On The Floor’ is a potent and empowering statement of intent.

It’s sharp and serious but without the navel-gazing feel that sometimes makes ‘Appalling Human’ a difficult one to truly get stuck into.

Clearly not ones to do things by halves, ‘Sex, Death & The Infinite Void’ may be an album that feels boldly unexpected for a rock band in 2020, and that makes it all the more remarkable: for Creeper, it’s their most astonishing and liberating move yet.

This is a second album that builds upon the foundations they’ve laid so far and opens up their world to all manner of possibilities. If ‘Dogrel’ promised that Fontaines DC were gonna be big, it’s with ‘A Hero’s Death’ that they prove they were worth the hype all along.

From the wonky stomp of ‘Double Denim Hop’, through the ballsy vocals of ‘Stockholm City Rock’ to the unashamedly massive riffs of recent single ‘Hollywood Actors’, frontman Tom Rees doubles down on the things that clearly make him tick.

While the troubles are integral, ‘Pain Olympics’ also manages to find moments of lightness and creative joy throughout.

‘LLH’ finds its strengths in restraint and the spirit that flits between musicians in the live setting. Her most satisfying and complete work to date.

This is 2020 in pained, reverb dripping sound waves. This is the isolation. This is the pandemic. This is everything. The doom may have arrived, but at least Protomartyr are back in our lives.

Pushing nearly 30 years in the game, JARV IS... still an absolute one-of-a-kind.

The 19-track remix record has elements of bubblegum-pop, screamo, rock, pop, hip hop and pretty much every genre you can think of, creating an album that is a masterpiece in its madness.

An intelligent, stylish pop record.

A stellar record. ... Which is to say, it’s bangers, bops and top-notch observational lyrics at every turn.

Transforming troubles into huge disco-pop bangers, these may be difficult times, but NZCA LINES will be throwing the greatest party ever nonetheless.

With it, The Beths find their most focused sound yet in the midst of uncertainty.

The middle run of ‘U Do U’, ‘RH RN’ and ‘Old Flame’ is so mid-paced and lacking in audible spark that it’s as if the record has momentarily dozed off. And for a group who have seemed so overflowing with ideas, so strong in their convictions and so urgently essential, it can’t help but feel a bit disappointing

For such an introspective record, it sure sounds like community - a portrait of an artist ready to lean into her fears.

Succeeds through the sheer brilliance of its songwriting and the trio’s palpable love of their craft. While perfectly capturing the zeitgeist, HAIM carry the passion, creativity and joy to also cement ‘Women In Music Pt. III’ as a timeless classic.

Even when entering darker territories Pottery keep things jovial, ensuring the album rattles by with spirits high. Their characters are often down-and-out losers, badly clothed with peeling skin and no money, but when they come to ‘Bobby’s Motel’ none of that matters. Here, the scuzz is celebrated, the outside world is non-existent, and there’s always space for another body.

Both playful and powerful in its delivery, ‘Kitchen Sink’ may be built around the challenges so many of us still face - and are angered by - on a near-daily basis, but it also offers a bit of light and - most importantly - liberating relief.

As something cooked up on short notice, it’s a glorious postcard from an unprecedented global moment, and a wonderful teaser for what is to come.

While ‘What’s Your Pleasure’ doesn’t quite hit the heady heights of classic disco its soft-focus imagery might suggest, it’s both a more exciting - and natural - fit for the singer than we’ve heard in some time.

It’s not all perfect: the previously-released title track clocks in as a fairly innocuous hoe-down, while the slightly uncomfortable spoken word midpoint of ‘Florida’ makes for a jarring addition. Still, when ‘Homegrown’ soars, it acts as further proof that few in history can reach the emotional peaks that Neil Young can.

As the record builds to a final cathartic hushed scream, ‘Punisher’ marks a clear step forward, but one that remains as fundamentally graceful as all that has come before.

Every second of ‘Wicked City’ feels meticulously thought through, the huge breadth of sonic terrain the duo cover the result of real care and attention paid at every juncture.

Pairing this with sincere lyricism and soaring musicianship, ‘A Quickening’ emerges as Orlando Weeks’ most personal record by far, and is nothing short of stunning.

While the record does, on occasion, feel weighed down by its own existentialism - the more explicit musings on existence that open (‘I Am’) and close (‘Human’) the record notably - the rich sonic palette and Jehnny’s steely delivery ultimately win out.

The result is still just a big, slick, debatably-decent pop record.

‘The Prettiest Curse’ is packed with grooves, hooks and riffs, and from the opening bass drum to the closing fade, not a single beat is missed.

Those seeking another Interpol record won’t have much luck here, but ‘Muzz’ stands confident on its own two feet.

Where Westerman’s debut suffers is in its consistency: there’s such a distinctive sonic palette that, within a batch of tracks whose tempo never steps past ‘mid’, it’s hard for individual offerings to always stand out. But really he’s done the hard work; now Westerman’s defined his niche, all he has to do is refine it a little.

A couple of times they get some wind in their sails, namely ‘War Dance’ and ‘Turned to String’, but the overall feeling from this is that No Age are, ironically, starting to show their years.

Nothing quite comes close to ‘Cars In Space’ for desk-slapping earwormery, but with three singer-guitarists at play, the music chops and weaves with an impressive intricacy, always stopping itself short of self-indulgence. If you’re looking for a modern, uplifting celebration of all things riff, these boys have got your back.

Infectious, exciting and even a little hedonistic during some of the most confusing of modern times, now’s never been a better time to get lost in this new destination.

‘RTJ4’ is by far Killer Mike and El-P’s most accomplished chapter, wrought with rage but injected with a humour and wisdom that offers razor-sharp clarity and, with that, an unapologetically raw and sobering take on our times.

In 12 songs, they make it pretty clear which side they’re on, and it looks like the winner - smart, engaged, and willing to crack a joke with the faith that their musical dexterity will speak for itself. Love them or hate them, dismiss them at your peril.

It’s all pleasant, but feels inessential and - at times - dated, not least because the lower-tempo tracks veer dangerously close to sounding like chillwave. Domestication has not robbed Sébastien of his adventurousness, but the killer instinct that defines his best work is missing here: ‘Domesticated’ is a meandering listen.

Everything they touch holding a vintage sheen of some kind, but it’s such a broad and masterful selection that there’s no sense of pastiche. The lyrics across the record let it down - they match the random patchwork of the sound, but take a step too far in the direction of gibberish for the most part.

With one foot in the classic NYC underground scenes that paved the way, ‘Underneath’ is pure bass-led, disco ball-flecked Studio 54, while the dance-punk footprints of ESG are all over ‘Cities’’ irrepressible hook and ‘Compromised’ tips a hat to godmother Debbie Harry. ‘Gentle Grip’ sounds timeless.

This whirlwind of self-discovery later in life plays out through individual tales of his romantic encounters, simultaneously juvenile and remarkably profound.

Had they filtered the cacophony of ideas a little more, ‘Notes…’ could have matched ‘A Brief Inquiry…’ as a modern-day classic; as it stands, its legacy looks set to be slightly more conditional.

A stirring and immediate listen, as Charli takes us with her on her lockdown emotional rollercoaster in real time.

Equal parts elegant and antagonistic, it comes together to be every part the listening experience that he wanted it to be - complex, unconventional and ultimately, essential.

It’s an absolute tour de force, a record full of drama and emotion and pleasure and pain.

While the unique sonics and instrumentation of this album are notably brilliant, they at times feel disjointed on a track-to-track basis.

A record that perfectly proves how much strength is in vulnerability, it’s undeniably Hayley’s most powerful move yet.

Emotional yet playful, soft yet strong, Happyness newest is the sound of a band fully settled in their own skin.

Social despondency and visceral frustration run throughout ‘I Grow Tired But Dare Not Fall Asleep’, a masterful soundtrack to a failing society - one that carries even more weight as we redefine community, connection and togetherness.

A weird and wonderful new offering.

His most experimental release to date.

The results are surprisingly cohesive; Sky Larkin could often be boisterous to the point of verging on bombast, but this is a record that speaks to growing measure and maturity.

‘Song For Our Daughter’ presents a poignant snapshot of the complexities of femininity - both ones imposed by society and ones engrained in Laura’s past. Some moments are remarkably candid.

There’s no question that a little bit of Lido’s formidable live energy is lost in the translation here, but ‘Miss Colombia’ remains a vibrant, accessible introduction to her boundary-defying body of work.

Earth might be musically faultless, but it lacks the bite of his day job.

It’s a smart pop record that’s doused in self-awareness but still direct in its assertiveness - and never not compelling.

‘Friday Forever’ is a solid record with an intriguing concept that unravels fantastically under Russell’s loosened leash.

Insouciant, effortless cool; shimmering, effervescent melodies that cut through the street-smart danger; the ability to sound vitally alive whilst simultaneously not giving a fuck: all the traits that underpin the band’s best songs are present and correct, from ‘Dancing With Myself’-aping recent single ‘Bad Decisions’, to the twinkling, yearning ‘Selfless’.

It’s hard not to commend Nova Girls for the gripping collision of influences that make up their debut, and their commitment to doing it so forcefully.

Despite some stellar production and sparkling pop moments, it feels like there’s been little evolution in the duo’s sound in the five years since ‘Another Eternity’.

It’s obvious they’re well-practiced at the craft, conjuring up 35 minutes of their trademark melancholy. It’s also an album of firsts for them - newly added keyboard player Marta Cikojevic adds a vital new layer. This in turn frees up vocalist Jane Penny to add a couple of flute solos on the record, which is a pleasant surprise. In fact, it’s the broadness of flavour on the album that is its main strength.

‘Migration Stories’, might be his most impressionistic yet, a collection that began life as eleven woozy instrumentals that came together during sessions in Québec with two members of Arcade Fire, Tim Kingsbury and Richard Reed Parry.

The LP’s darker moments are its most affecting, but the playful brushes of humour throughout never diminish anything; in fact, they make ‘It Is What It Is’ a richer, more human experience.

A record that improves on their second effort, placing them in a strong position to break through even further.

A dazzlingly-polished record that sonically does justice to the boisterous energy of these clever subversions of the kind of melodic indie rock you’d normally associate with Pavement or Built to Spill.

An undoubtedly influential album.

Margaret still sounds the most at home with her string instruments, but her foray into experimenting with electronic music has paid off.

Sorry have somehow managed to mould something immediate and accessible but undeniably in their own image. It’s a truly special debut, one that makes strange magic at every turn.

Another smartly-crafted step forward.

‘High Risk Behaviour’ is a record that’s bound to solidify The Chats’ name as a truly unique proposition.

‘Saint Cloud’ is the rousing of a regenerated spirit that chronicles not just the journey but the revelations of love, life and death that comes with it. A very special album indeed.

By the time closer ‘Boys Will Be Boys’ hits, Dua’s already smashed it out the park, and the euphoric ballad cutting down inequality with her impassioned chorus of “boys will be boys but girls will be women” only further cements what this album has proved: Dua will be going down in pop history as one of the best.

A potent mix of influences, it manages to sound equally focused and effortless - the work of a true performer.

The songs here mostly lack the sonic power and impact of those on its predecessor, but they do accomplish the not inconsiderable task of making Sean’s angular guitars sit alongside Pascal Stevenson’s synths congruously on tracks like ‘Ego’ and ‘Keep Out’. Post-punk bands of various eras have transitioned to new wave over the course of three or four albums, but Moaning have done that with just two.

The leap has definitely paid off - her inimitable voice thrives in the woozy dancehall and afrobeat-inspired ‘First’ and the big pop confidence of ‘Womxn’, but also knows when to take a step back, peppering the record with spoken word segments and heartfelt mantras that tie the whole thing together.

A master of eulogising the grubby underbelly, Baxter’s is the kind of voice that’s utterly out of step with the modern, fearful, social media-courting world, and all the better for it.

For every track that falls short, there is another where they hit a sweet spot.

An exciting glimpse at where they’re heading next, The Districts are here for keeps and we’re glad.

The Liverpudlian four-piece are gifted with penning peppy indie-pop, the melodies that lift the likes of ‘Be Your Drug’ and ‘Move To San Francisco’ are spiky and infectious but ultimately stick to a well-worn formula that produces middling results.

Though there’s a clear outlook and lots to like, there’s a certain ‘leather trenchcoat on Camden High Street’ vibe to The Wants when you sense they were aiming for something a little more forward-thinking.

While this collection is his slickest, most watertight LP, it does little to push his sound or songwriting forward.

The supergroup’s self-titled record might feature the dirty rock of the former and the latter’s penchant for synth-led tangents, but by each party’s style rubbing off on the other, they’ve also sanded them down.

Few albums carry the raw emotion of ‘Every Bad’, and carry it with such musical confidence.

The duo have well established their trademark sound, and sonically ‘Ceremony’ pushes this to new extremes - the synths are darker, the drums are heavier, the vocals more melancholic than anything fans would have previously heard from them, yet still catchy as hell.

Throughout this 21-track pop odyssey, Lauv shows just why he’s considered one of the finest pop writers around.

With lyrics that simmer with self-awareness serving as the record’s backbone, the obvious points of comparison are Parquet Courts and Car Seat Headrest, but the idiosyncrasies that really make ‘Collector’ tick feel as if they’re all Disq’s own, from the subtle subversions of pop and rock tropes to the wry-beyond-their-years witticisms at every turn.

It’s taken him the best part of 20 years, but with ‘Traditional Techniques’ Stephen Malkmus has finally come up with the blueprint for slacker escape.

Although ‘Superstar’ certainly reaches for the stars in its slick production, her wit doesn’t sparkle as strongly, and its theme of an awkward outsider trying to chase success feels a little too close to home.

Every single moment of ‘A Situation’ feels dreadfully real and groovy as heck, so prepare yourself mentally - you may start to believe the matrix is real.

‘Printer’s Devil’ is the sound of a band who seem to have had a significant boost in their sonic confidence, even if Julia’s words are as fraught as ever.

The Orielles succeed in painting a vivid world of colour and flavour to get lost in.

Her signature sound is still there, yet on her latest offering, we can witness a more matured snapshot of an artist that is already wise beyond her years.

Torn between old habits and a limber, more flexible stance, this fifth album stands as a misty mix of downtempo vibes with sombre, often questioning lyrics - Real Estate strike out here, thriving in the art of surprise and subversion.

‘Suddenly’ is a treat and continues Caribou's knack of releasing albums that are both accessible and explorative.

Sensitive to a whole host of influences old and new, ‘Everyday Nothing’ is a confident, cohesive and finely-honed debut.

While his lyricism is filled with youthful nostalgia, his sound here is more mature than ever. Introducing an auto harp, his soundscapes are filled with a toned-down joie de vivre which makes the album stand out with its lucid simplicity.

‘CollXtion I’ posed Allie as an exciting new songwriter, but this record fails to push boundaries in the same way.

‘Miss Anthropocene’ is undoubtedly the singer’s darkest album yet, the result perhaps of a rollercoaster half-decade or maybe just of an artist who’s never really given two fucks about playing the radio-friendly commercial game.

‘Hyacinth’ shows Spinning Coin are OK with dipping their toes in the water of something new, but will leave you wishing they would just jump in.

In her journey to rediscover her own strength Banoffee has created a remarkable pop opus unquestionably destined to empower the marginalised.