Their magic remains as strong as ever.

Somersault raises the bar on 2013’s ‘Clash The Truth’.

It's entirely possible that by proving they can make anything their own, they've become one of Britain's best bands.

While better executed at certain points than others, the band’s varied selection of instrumental textures remains a defining feature; from the riff-driven frenzy of ‘Talking Radiance’ to the minimalist, piano-led touch of ‘Venus’, there’s an inharmonious harmony that pervades.

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

It’s the most eclectic punk record to emerge in ages, and even though it incorporates elements that might seem incongruous in a style that thrives off its simplicity, they’re carried off with enough class for it to sound intriguing rather than jarring. In fact, there’s a refreshing elegance about the whole thing.

In all, ‘Evangelic Girl is a Gun’ is a flex of pop ingenuity.

‘Empty Hands’ feels defiant in its ambition but never disingenuous or forced. An album unafraid to continue reaching towards the huge spaces not often reserved for this genre.

As an album, it's quite a varied piece of work, despite never really emerging from its shell.

While more of a slow burn than his previous efforts, ‘Gold-Diggers Sound’ sees Leon Bridges shine brighter as a songwriter, as an artist and as a man than ever.

Ihe duo’s latest project is a barrage of positivity with a collection of upbeat anthems perfect for a sun-soaked summer of love.

For all its playful charm, CYRK is deliciously dark: it revels in its ability to marry calmness with the uncomfortable.

The majority of the album is not different or progressive enough to be exciting--and it's not enjoyable enough to make up for it.

From gut-wrenching lows to stratospheric heights, A Weird Exits is an adrenaline-fuelled ride of epic proportions.

The lyrics across the course of the record feel less politicised, the characters less personal, resulting in a record that feels both wholly more developed, and ultimately more accessible than the EP it follows.

Often Gorillaz records fall victim to feeling a little disjointed but with many moods and gargantuan guests here, Damon somehow manages to make ‘Strange Timez’ feel like a cohesive whole. Gorillaz can often be a hard band to define, and their records haven’t always fared well in the context they’re released in - in 2020 though, it all makes perfect sense.

With ‘Thirstier’, Torres has delivered her most varied set of songs yet; trying on so many different costumes suits her.

The quartet’s ability to instrumentally weave among each other has always been one of their great strengths, and here (with the addition of new bassist Holly Mullineaux) the band sound more unified than ever, able to spin strange sonic tales all the better as a result. A triumph.

Forest Swords’ debut long-player is electronic mastery at its very finest, because Engravings manages to make electronic music feel tactile, organic, and alive.

The same but different, more polished yet more heartfelt, forceful yet calm.

It’s still immersive music for thinking and reflecting. It might lack it’s ‘Red Eyes’ but this record is filled with enough to satisfy any existing fans.

The Dots is an outright success. It combines forward-thinking sound design with complex songwriting, and an astute taste for pop hooks with rich, intelligent lyrical content. It’s a joy to experience.

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.

It’s a mixed bag.

There’s plenty here to push The National’s sound forwards and stave off stagnation.

‘Mercy’ provides another delicious example of an esteemed old-timer triumphantly pushing his creative frontiers into a much-shifted modern age.

Although the lyrical themes aren’t necessarily treading new ground--and at times sound feel more 1970s than 2010s--New View is the most self-assured realisation of the Friedberger’s delicately eloquent and intelligent musical talent.

As a whole, Villains is the Californian filthmongers’ most danceable offering yet--and all the better for it.