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.