The resultant ‘Tropical Gothclub’ is so polished and pristine that the only pity is that it didn’t come sooner. Given the pantheon of rock stars he’s bolstered over the years, Dean has finally earned a little slice of time in his own limelight.

‘So Much Country’ is a confirmation that just two EPs in, Westside Cowboy are already confident about where they’re heading.

All three members are now capable of operating on a different standing, and when I See You strikes best, it’s when these level-ups lock limbs.

With ‘Fear Fear’, WMC already have a signature viewpoint all of their own - the fun is in seeing how they continue to play with it.

Goon is gluttonously full of rich sounds, but it’s the running thread that counts: That voice, and its ability to sing about experiences like they’re universal stories, not a means of self-indulgence.

After eleven songs of depth, colour and excitement--songs that grow more vivid with every listen--it’s always a shame to reach the slow decompression of ‘The End, Again’, but as the title suggests, it won’t be the first time, nor the last.

There are nods to The Velvet Underground’s knack for dreamy simplicity (‘Blind’), and times when Viscius peeks into Vivian Girls-adjacent, more garage territory (‘Take That Back’). For the most part, however, ‘Everything’ operates from within the particular fog of grief: fragile, tactile, tender. It’s a frequently gorgeous thing.

Vitriola is a fiercely political record, but one that seldom feels trite; married to the aggressive tone of a band back to make a point, it’s a razor-sharp lament of America in 2018.

It’s Real is at its best when the trio let loose and steam ahead with out-and-out rock and roll; the breathless ‘Cosmic Cave’ and assured strut of ‘Good Times’ suggest that catching Ex Hex on the road this year will be every bit as essential as last time out.

Expect Delays chugs along at a pleasant pace – ‘Bad Year’ is particularly cheerful, considering its title. If there’s a delay to be had, it’s probably the fact that it takes a few listens to warm to the album as a whole.

Flexing their muscles as they stretch their creativity, on Pollinator Blondie might not be testing any limits or redefining any capabilities, but they make thinking inside the box sound pretty damn fun.

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

In doubling down on her niche - that is, artsy Scandi-indie-pop - ’I’M DOING IT AGAIN BABY!’ is girl in red at her most realised.

This is a landmark album for a previously forgotten musician, an incredibly neat and satisfying collection of songs.

It’s no easy feat for a band to push themselves to the absolute limit, and with every shimmering strum of a guitar and shattering bassline of Sea When Absent, it’s clear ASDIG are giving it their all.

What you’re left with is near 40 minutes of slow and sweaty seduction executed exquisitely by weeping guitar.

Her raspy tones give way to huge notes, effortless in their delivery. No moment feels forced or out of place.

With his debut album, Alfie Templeman has found a means of discovering himself and a means to cope. It makes for something incredibly promising.

On The Book of Traps and Lessons Kate Tempest continues to impress as one of the UK’s most vital voices.

There’s still barely any light allowed in, but Protomartyr’s prowess at channeling darkness into something cathartic has never been stronger.

A record that’s an unapologetic, brilliant melting pot like little else.

One blast of The Physical World and BANG, the doubt is gone.

It’s an impressively cohesive record, which builds on their penchant for hooky punk rock and refines it into something punchier and more addictive.

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

This is pop music at its wittiest and most concise, yet for all its maturity and refinement, it's hard to believe that an album so youthful could be made by a group of forty-somethings.

A record which thrives on evoking feeling and catharsis, while remaining committed to their personal influences, on Doom Days they’ve managed to deftly build a conceptual world not all too different to the one we’re facing right now, and that feels like a triumph in itself.

Five albums in and The Horrors have obviously found a new lease of life. This V is for victorious.

The ideal meeting of brains and brawn over a journey that manages to feel both concise and exploratory.