Now, we see a new-found confidence as they step out their comfort zone for a deeply personal album.

It’s a record that leaves the kind of impression more associated with acts with far lengthier histories; second records are usually places where acts attempt to showcase their breadth, to be seen to expand on or rebel against their past selves, not double-down with quite this much confidence and depth.

There's a gulf between even At The Drive-In and how extreme Dillinger can be, but on One Of Us Is The Killer, they've finally written a record that bridges that gap while staying true to themselves.

Although less esoteric than its predecessor ‘Cavalcade’, ‘Hellfire’ is a fiercely experimental record that sees black midi teeter back and forth on a crumbling precipice, halfway between unhinged madness and art rock precision.

With Schmilco, Wilco are getting funnier, more surprising and more interesting, two decades after forming.

A record that plays like an unwieldy and unravelling ode to all the twists and turns of Brockhampton’s journey.

Walking Like We Do is expansive lyrically, thematically and sonically, touching on social inequality and frustration with the current political and societal climate.

This album is a little less concept-narrative driven than previous releases, but not to any ill-effect. Instead, Clipping have reached both their most distilled output - this is a once-in-a-generation band reaching their peak.

Their newest full-length isn’t by any means leaps and bounds from what they’ve done before, but when they’ve got their brand of metallic pop so well-honed, why would we hope for anything else?

There’s a sense of the trio reaching for a comfort blanket, turning back towards the intellectual pop that inspired them as youngsters in the ‘80s.

His shifts in sound are as delicate as his music, continuing to showcase his ability to blur styles with unparalleled precision.

‘See You At The Maypole’ is a challenging listen not through sound or even particularly subject matter, but in not reaching its end under a similarly black cloud as the record itself.

Inji is the sound of Dust discovering his own identity. And to achieve this, he tries just about anything and everything that crosses his path.

‘As Above, So Below’ feels more refined. It’s fair to say there’s no one else quite doing it like Sampa The Great right now.

At times it’s a strange record. The rough tones don’t register as forcefully as the hooks on previous works. That said, it’s a rewarding listen, one that eventually embeds itself once given full attention.

An album that works to intertwine large scale issues with some deeply personal admissions from frontwoman Sadie Dupuis - all via her intoxicating and bewildering brand of lyricism - the record, instead, grapples with the anger at its core and transforms. it into something more worthwhile.

‘The Gloss’ might not hold a candle to the Television-esque majesty of ‘Sun Coming Down’ - an era firmly in their rearview mirror - but it shows that, together, Darcy’s wit, Stidworthy’s precision, and Cartwright’s skeletal rhythms create something special. It’s not quite a reinvention, but they’re still seeking new horizons.

The more you listen, the more you start to learn this is not an album of ‘Eleanor Rigby’s; it’s an album of ‘A Day in the Life’s.

Overall, and perhaps importantly, it mostly sounds like something to sing along to, rather than the soundtrack to your next existential crisis.

Her tenth studio album might be written about Cat Power’s own journey, but it also doubles as an essential compass for finding your way through the dark.

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.

This is a thirty-five minute blast of garage rock of the highest calibre. Consider all boxes ticked: carefree, angry, passionate, loud, relentless, and fun.

Howlin' works impeccably as a whole. Equally uplifting and calming, it's the dancefloor via the beach.

An album that finds the prodigious artist enjoying himself yet again.

It may not be a career defining record but The Something Rain is crammed full of twists and turns to create an emotionally rich and thoroughly rewarding listen.

Be Strong may not offer any invention or progression but as a collection of exuberant, joyful and uplifting dance music it is certainly the perfect record to light up those dark winter nights and look forward to the summer.

The free jazz of the title track grates and some of the record falls a little bit into the background and seems almost too polite at times but Mars is a sophisticated and beguiling album full of wonder.

This is the work of two guys simply expressing their love of music for the rest of us to enjoy--swooping from ‘60s pop to ‘00s rock while appreciating everything in between--and what a loveable collection of work it is.