‘Heaven knows’ pushes PinkPantheress into new realms of utter brilliance.

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.

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.

‘Happier Than Ever’, then, is not just a triumph in progressing a signature sound into new territories, but a lesson in how to own your reality with confidence and class.

MGMT haven't necessarily re-discovered their mojo, but re-imagined it, and in doing so, may well have given us one of the best albums of the year.

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.

They skillfully marry sonics and subject matter with smart precision to instead offer an evocative, multi-faceted commentary on contemporary culture that exists at the intersection between natural and human, destruction and rebirth.

Both varied and beautifully evocative, Voyageur is the perfect listen for merging wintery wistfulness with ethereal wonder.

It’s as fun and messy as it is timelessly trendy; as silly as it is erotic.

There’s something invigorating about how audibly Porridge Radio stare their demons head on, step up to the plate and turn them into something big and ambitious and beautiful.

Sounds layered upon sounds; the intricacies here may hint towards Mosquito being more of a grower than its older siblings, but it proves that Yeah Yeah Yeahs are a band to cherish.

‘Where’s My Utopia?’ is as much a joy intellectually as it is musically, a leap in the right direction from one of our most promising groups of the day.

Pushing nearly 30 years in the game, JARV IS... still an absolute one-of-a-kind.

The collaborative spirit of producer Fred and long-time friend Haai flows throughout ‘Mid Air’’s eleven-strong homage to an unforgettable era, but it’s Romy’s autobiographical candour that adds a depth beyond the record’s inarguable ecstasy.

‘Here Is Everything’ lands in the sweet spot; it’s creatively ambitious, pushing the quartet into new ground, but it does so with a renewed sense of fun.

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.

Vols. 11 & 12 yield nothing but successes. The eight tracks here are scrappy, sure, and have the understandable feel of demos rather than fully formed final products. But the bones of the beast? Well, they’re kind of brilliant.

Avery has, somehow, made his most accessible and most idiosyncratic record to date, all at once.

An affecting - albeit somewhat terrifying - portrait of how life could shift in the not-so-distant future, ‘No On Was…’ is perhaps the stark reminder we all need to hear.

It all goes to confirm that Dave has grown from hot young talent to a true master storyteller.

It adds up to a gorgeous album that overflows with easy-going energy.

‘Classic Objects’ walks the line between art and humanity, between nature and fabrication, between the real and the conceptual. It’s the audible equivalent of a painting affixed with human hair.

Striking a perfect balance between familiarity and unpredictability, immediate choruses coexisting with a relaxed, breezy sound, ‘IRL’ is a delight.

This isn’t britpop recooked, reheated or reserved. Be it 1993 or 2013, In Love stands proud.

It’s testament to their skill and commitment that it all hangs together so well. What could brush off as mere novelty instead thrives as an almost unique ability to mix anything and everything within arms reach. By being almost completely unrestrained and unmoderated ‘The Talkies’ can exist in its rawest and most vital form.

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.

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.

A stellar example of an artist pushing their collective boundaries while retaining full control over their artistic identity.