The Essex star’s already demonstrated that she’s adept at crafting a banger that plays in your brain on loop for hours, but she’s somehow improved the recipe of whatever secret sauce goes in these songs.

This is an album that might make you bawl your eyes out, but it may also make you feel like things are gonna work out okay. The results will probably vary on every listen, and depending where your own head’s at.

Power Up is a reminder that this music has a power that belies its apparent simplicity (and here do not mistake this for being easy – go stand in a practice room and listen to how many drummers can’t do the ’DC beat properly). The context and tragic shadow from which it comes and the world into which it arrives makes its odes to freewheeling good times so very poignant.

You have a record that defies easy categorisation, reminiscent only of the restlessness embodied by outfits like Liars. If their music feels trippy and amorphous, their lyrical focus is often surprisingly specific.

[An album] that'll slowly reveal its full charms across repeated listens. [10 Sep 2016, p.51]

The dreamy Cali-sound is easy to get lost in, but Seahaven takes you somewhere you won't actually mind being stranded. [22 Mar 2014, p.53]

This is another collection as thrilling as back catalogue classics like The Elephant Riders (1998) and Blast Tyrant (2004). [1 Sep 2018, p.54]

The band's ninth full-length, is every bit the monster it should be and easily stands alongside their best work. [12 Feb 2011, p.51]

As always, the uninitiated need not apply. For the rest of us, Goatwhore are a filthy feast. [12 Jul 2014, p.53]

This may be the year's most melodically ambitious release. [26 Sep 2015, p.52]

At the point where most bands start to slow down, Pissed Jeans have hit the accelerator.

They're at their best when they're at their harshest, with the grindcore attacks of Saintpeelers and Sovereign Through The Pines proving as exciting as this stuff gets. [12 Mar 2011, p.52]

The sheer, unreconstructed manliness and testosterone that flows through every riff takes you right to the heart of whatever battle Amon Amarth are embroiled in. [2 Apr 2016, p.52]

Permanence is a brave, bold step into a new beginning. [19 Sep 2015, p.51]

This album is polished indie-punk at its near best. [28 Jan 2017, p.52]

They've taken things into a place where that barbed-wire charm takes a backseat to sounding absolutely enormous. [4 Jun 2016, p.53]

Amends is a portrait of the artist as a young man, offering fans the chance to time travel and spend time with an old friend. It’s also the origin of Chester Bennington as a musician and is therefore an essential, rewarding and emotional listening for anyone who is a fan of his work.

You can’t help but feel that some creative tension and idea-bouncing in there might have led to some more invention and exploration in the album’s midsection. Nevertheless, though, this is still an impeccably delivered slab of hard rock fun.

Thirty years on from the release of their earth-jolting, trouble-divining self-titled debut, Killing Joke show no signs of either mellowing or cracking a smile. [Sept. 25, 2010, p. 51]

It lurches, as such compilations sometimes do, but those lurches, are from intimate to inviting, triumphant to introspective and funny to heartfelt. [14 Jan 2012, p.51]

Counterparts have delivered one for the heart here, not the head. [20 Jul 2013, p.54]

Corpse Flower is an album for completists. [15 Sep 2019, p.55]

It jabs with style, and demonstrates that, far from running out of ideas, this band remain intent on staying at the cutting edge of modern British rock.

The end result is maybe not as coherent as Race The Night, but it’s every bit as fun. Almost 30 years since Ash named their debut album 1977, after the year that Star Wars was released, the Force is still strong with these ones.

Truthfulness and honesty [are] inherent throughout this fantastic record. [14 Sep 2019, p.55]

Finally adding a bassists to PD's ranks has robbed them of some of their personality. [8 Sep 2018, p.53]

What saves these confessions from self-loathing is how Diet Cig dance the line between serious and funny wonderfully. [8 May 2017, p.66]

Ultimately, any record which ends with a cover of cult anarcho-surrealists Rudimentary Peni can’t fail to convince in its sincere respect for its predecessors and inspirations.