On the evidence of To Pimp A Butterfly, Lamar’s work continues to place itself among the best.

Kendrick Lamar rose to the top with his last album, and on DAMN. he tries to rediscover himself while on this new perch, with spectacular results.

This was bold move for Joyce Manor, but one that exemplifies exactly why they're loved.

If ‘BRAT’ will ultimately push Charli XCX into mainstream pop’s top tier still remains to be seen, but it absolutely guarantees the best night out of your life.

Doe always hinted at such results from an LP, and Some Things Last Longer Than You delivers the lot and then some with devastating power and sincerity.

Eternal Forward Motion pushes onward with a clear mission and unrivalled force, and much like their two previous albums, it places Employed To Serve firmly at the forefront of innovation in British hardcore.

It’s Ghetts’ ability to paint rich scenes and his breadth of unabashed honesty that animates his comeback into a fully-fledged triumph. Although meticulously crafted under Ghetts’ famed perfectionist nature, it’s pure; neither shunning the light or the dark across the 16 tracks. He lets it all show.

Cure-y closer ‘24 Hours’ underlines the fact that Heartworms are one to keep a trained eye on, its rumbling outro an omen not for an oncoming rapture so much as the arrival of a Seriously Fucking Cool new artist with vision and formidable talent to her name.

A record that’s as skilled in pop immediacy as it is emotional expression; a lyrical gaze that looks as deeply inside as out; an artist who, on this debut album, can seemingly do just about anything.

Nick Cave’s lyrics have always dealt with love and grief, so while the themes seem more poignant because of his loss, in truth the content isn’t so different. It’s the raw nature of the tracks themselves that hit harder than usual.

‘LUX’ may have only just come out, but, years down the line, it might be no exaggeration to describe it as a turning point in pop music.

It embraces the unconventional with resounding ease, finding its voice in the skilled hands of two of pop’s most forward-thinking pioneers, both busy rethinking just what it can be.

A joy to listen to, full of crisp production, clear and emotive vocals, and genuine superstar presence - 2021 could well be Griff’s year.

They have managed to create an almost flawless punk album.

Possesses a lyrical tone that tilts from confident to uncertain, and nostalgic to forward-looking, with immaculate precision.

Never has an album title been better chosen - the duo are at the centre of a brightly burning, ever-expanding sonic explosion, all of their own making, and just like a supernova, it is utterly stunning to witness. Bow down to the queens.

‘Prioritise Pleasure’ manages to challenge accepted norms and help to exorcise long-buried demons; it’s powerful to the last drop.

In a year when the world’s biggest artists have put their necks on the line--Rihanna’s leave-me-alone, independent streak of ‘Anti’, Kanye West’s scatterbrained ever-changing doodle ‘The Life of Pablo’--Beyoncé can count herself as a risk-taker breaking new ground, up there with the bravest.

It won’t be quite as divisive as its predecessor - not least because this iteration of Black Country, New Road has ceased to exist before it’s even been heard - but ‘Ants From Up There’ might yet win over those stifled by hype first time around.

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

For all the twists and turns that Rolo Tomassi have made, this is their first album that can reasonably be described as being, first and foremost, riotously good fun.

He thrives in this intersection of extremes: there are moments of overwhelming emotional release, such as the swell and drop of ‘Tie Your Hair Up’, but there are also glimmers of delicacy.

Setting such a high bar on your debut can be a poisoned chalice but Dave weathers the storm with his astute penmanship, impeccable musical taste and cool, collected delivery.

Multi-faceted in both personality and musical style, ‘Access Denied’ has proven itself every bit worth the wait.

Titanic Rising presents an immensely elegant journey to a different place and time; in equal parts beautifully delicate and powerful.

‘Patterns In Repeat’ is both stunningly intimate and endearingly raw.

‘Carnage’ is a jewel in the Cave-Ellis cannon. A thrilling piece of work that sources a sweet-spot between the unbound introspection of the Bad Seeds’ recent work and the furious fire lit beneath Grinderman and The Birthday Party.

Melodrama's acceptance of taking what you can get while never failing to reach for the stars makes it one of the smartest pop records of the decade.

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

The fact that Hayley Williams is an eloquent, evocative songwriter has never been in doubt, but with ‘EDAABP’ in all its sprawling scale, she proves just how far-reaching and all-encompassing her talents really are.

Life is too short to waste time. ‘The Myth…’ expands from this vital message, allowing the record to emerge as Biffy Clyro’s most emotionally powerful in years.

An extraordinary debut that proves Heartworms is a force to be reckoned with.

Unlike 2016’s iconic ‘Lemonade’, ‘Renaissance’ firmly embodies this world. No ballads or break up songs necessary, the album sits proudly at 16 tracks of pure energy. A masterclass in reinvention.

Her straight-forward, down to business flow is all part of removing that mask. It’s an unflinching look at what such a sudden rise can do to a young person, and the anxieties that the public never see.

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.

‘Blue Weekend’ is an album that revels in its feelings. The dynamics are constantly shifting, often moving from tender sparsity to luxurious sonic opulence in the same song, but everything feels like the absolute peak of what it could be.

Across the record, the winking lyrical smarts are in full flow.

Backed up by lyrical content that has never been more potent and relevant, this album is proof that A Tribe Called Quest never really left.

The drought may be over, but SZA left no crumbs.

But by going through it all, by exposing all the pain, he’s created something beautiful and vital.

Though some of their peers may have waned on their long, drawn out returns, Sleater-Kinney have only grown stronger in their time off. Ten years away has made them more essential than ever. Nostalgia be dammed.

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.

At 10 albums and three decades deep, ‘Private Music’ showcases a band both at the top of their game and with still much more to come.

Imbued throughout with a fusion of Pa’s Gambian heritage, and life growing up in Coventry (“COV, #cityofviolence” introduces ‘Informa’), it’s a varied, confident and cinematic trip through where the performer finds himself.

Taken individually these songs are all gorgeous, but as a whole they create an effect of being hemmed in by absence, that inhospitable land overwhelming in its minimalism. No other record today sounds so beautiful and full while being quite so sparse.

An album that makes no bones about delving headfirst into the terror, anger and fatigue of our present day, it may not be the most lighthearted of listens, but it’s a fiercely potent and important one.

Mike’s decision to collaborate more heavily births perhaps his most musically expansive record to date, in itself an exercise in allowing the external in.

It’s powerfully honest and refreshingly unfiltered, beautifully crafted and distinctive. Most importantly of all it carries the legacy of Tom Searle, and of the remaining Architects members, forward.

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.

It’s clear all three are being pushed beyond their usual creative comfort zones.

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.

The record feels more like opening a time capsule than self-congratulation; as if that 2011 statement locked a door we’re only now allowed to peek back into. Also crucially, many of the songs here were never even released as singles. ... The breadth and depth of how much they did while still keeping it (relatively) simple is so evident.

St. Vincent showcases Annie Clark as a fiercely accomplished musician, a relentlessly original artist, and now, an innovator of pop.

The Dusk in Us was whittled down to thirteen tracks from eighteen and there remains a little bit of extraneous material, particularly towards the album’s close, and that uneven pacing suggests a touch of rust after so long away--‘All We Love We Leave Behind’ felt more tightly controlled.

This is a performance, a showcase of crazy that does nothing but dazzle.

[Missing U's] Thudding kick drum pounds away underneath defiant lyrics of heartache, and it’s as affecting as she’s ever been. It’s the rest of the record, though, that really excels, pointing the way forward for an artist changing her tune.

Confidence and swagger flows through the album as a whole, with every twist and turn adding another colour to its extraordinary palette. The sound of an artist hitting their stride and then some, ‘That! Feels Good’ really does live up to its name.

While some of the stylistic variation here can feel disjointed at times, there’s plenty on offer to suggest a band on the rise, capable of rising even higher.

‘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.

Confined to merely six tracks, the ‘La vita nuova’ EP feels like it ends too soon - and that’s entirely symptomatic of how strong the songwriting is. In 2020, Christine is still truly in a league of her own.

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

‘Wild God’ aims for transcendence, and finds it.

M3LL155X is sometimes more show than substance, but it’s ultimately a sign of twigs getting more confident by the second.

A carefully crafted and expansive release from a group of young musicians truly coming of age.

‘I Love You Jennifer B’ feels like everything that’s come before has just been a trial run. It’s bolder, more rewarding, and so much more cohesive.

Swampy and tumultuous like a month’s worth of rain, the Dundalk five-piece have spared no expense in creating immersive, cavernous spaces of shoegazing, post-punk splendour.

The band’s most concise sound yet whilst never taking itself too seriously, as Mannequin Pussy continue to dominate a world of their own creation.

‘Natural Brown Prom Queen’ is Sudan Archives’ most accessible record to date. An unashamedly brash and confident one, but much more subtle and realistic. Rumbling beats, smooth R&B grooves, with just a touch of the experimental. Yet, in opening itself wider, it loses some of the sharp idiosyncrasies that made the early material so exciting.

This is an astonishingly good album, and the fact that it's a debut makes its stylistic and thematic consistency, as well as suave swagger, all the more to be recommended.

This is a sonically rich, musically accomplished record - and it truly is - it’s Holly’s enviably dextrous voice that can’t help but take centre stage. They can belt with the best of them.

In making louder and trendier her monolithic artistry, ‘HIT ME HARD AND SOFT’ sees her hitting somehow even higher highs. It’s her best yet, and an affecting sign of the times.

Deal demonstrates an appetite for sonic adventure and an ability to disarm and surprise us on ‘Nobody Loves You More’, even after all these years.

A timeless portrayal of both the physical and emotional connection to people and place; fundamentally British yet beautifully universal.

It’s comprehensive in its variations of electronica, dance, Scandi-pop and R&B, creating a colourful body of work. Its forward-thinking, lush alive-ness cements Zara as a largely-overlooked genre VIP.

Coloring Book is exactly the kind of record necessary to elevate an artist from viable to visionary.

By weaponising his introspection and pushing his impeccably high standards outwards, Vince Staples delivers an incredible State of the Union address on rap today.

Chris is a second album that thrives in the realm of the uncertain, throws perceptions on gender, sexuality and expression comprehensively out of the window, and cements the status of Héloïse Letissier as a true star.

More than anything, ‘Tigers Blood’ is a refinement of the blueprint laid down by ‘Saint Cloud’, and a showcase of Katie at the peak of her powers.

It’s lusciously written, produced, and arranged.

Punchy, fun and beautifully constructed, ‘Pink Noise’ is the triumphant sound of Laura Mvula finding her feet. A career-defining return that most artists can only dream of; pure synth-pop ecstasy.

A beautiful stream of consciousness, Home is the sound of an artist, donning a cloak of creative freedom. It’s a look that suits her.

Squid always seemed destined to have an epic album in them, and they’ve delivered just that.

Among the signature melancholy, there’s a sense of contentment to ‘All Hell’ – for a band once a byword for angst, that is a triumph in itself.

Overall, ‘Antidepressants’ is a solid, pleasantly dense record from a band who’ve been solid for decades yet.

With such a consistently adept and fresh discography, it’s impossible to call this album St Vincent’s best, yet it’s quite easily her fullest, building on everything she’s already achieved while also treading new ground. If she is to be known by one record, let it be ‘All Born Screaming’.

Enter Shikari have made their mark with a hybrid theory of conflicting ideas but, unsure where they sit between Rage Against The Machine and Radiohead, it lacks real conviction.

These bold theatrics more than work, and maybe more so than ever, they present Creeper with a clear track to bringing camp, dramatic rock back to the very top of the pile.

That Fontaines DC are accomplished, assured songwriters and musicians is well-established by now, but it’s such a joy to hear they are also (whisper it) quite fun.

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.

A modern-folk masterpiece which finds her moving from her previous pop bangers into stunningly simple yet sharp melodies, ‘folklore’ will be going down in Swiftie history as one of her most unexpected, and undoubtedly one of her best.

To Be Kind is a unique and wonderful achievement from a unique and wonderful band.

The sheer breadth of sound is astonishing, yet easily pulled together by Lindsey’s distinctive wavering tones and lyrical impact.

An invigorating listen that flirts with the eclecticism of their 1998 album, ‘War Music’ continues to set Refused apart from the pack.

‘Essex Honey’ isn’t about convention or the norm; as Dev continues to push against these boundaries, surrounded by acclaimed like-minded contemporaries, he delivers something far from easy but certainly entrancing.

‘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.

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.

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

The real masterstroke of ‘30’, however, comes with how these lyrics - the pain, the self-flagellation (sometimes cruel, often mocking), the hope, the acceptance - are expertly matched musically.