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.

A record which never really sags – an impressive feat for a mixtape of 17 songs, none of which are interludes – and instead engages the listener throughout, with a constant stream of fresh ideas thrown into the pot. When it comes to rock and hip-hop colliding, this is the sound of the future.

There are still elements of The Fall in the taut rhythms and the brief but potent guitar flashes are occasionally reminiscent of Jon Spencer or J. Mascis. As a whole piece, though, My Other People sees TV Priest continue to map out their own increasingly intriguing identity.

It’s interesting to hear Candy embracing their experimental side and, for anyone in any doubt, their industrial tinged noise is every bit as horrible as their hardcore – a wonderful spectrum that ranges from explosive anger to sinister brooding.

In truth not every track on BLEED HERE NOW quite justifies its inclusion. A trimmed down version would have been the best …Trail Of Dead album in 20 years, but this sprawling incarnation remains a comforting reminder of the warmth and weirdness of these perennial outsiders.

One of the defining features of Beatopia is that it’s much less immediate than Fake It Flowers – there aren’t so many catchy, love-at-first-listen bops, but the ones that are there, namely the fizzy pop-rock jam 10:36 and the scuzzy euphoria of Talk, are a lot of fun. The more left field moments here are handled with just as much assurance and burst with creativity.

Household Name is, altogether, an ineffably charming release bringing a youthful modernity to old school sounds.

The stunning Sweet Dreams Of Otherness is a burning behemoth of raging psychedelia – think Wade’s Dooms Children project on steroids and turned up to 11 – while Sans Soleil is a gorgeous, almost proggy anthem about overcoming an episode of depressive self-loathing that’s as poignant as it is powerful.

You don’t have to take a crash course on two decades of complex lore to enjoy Act II, though. For all their intricate storytelling and consummate musical skills, Coheed remain surprisingly accessible.

Not all of World Below lives up to this early promise. You can find songs like Poor Old Me – wonky guitar, jaded sarcasm – filling out landfill indie releases from the ’00s. However, late highlight Midnight twists heads with grinding industrial rhythms.

Supernova basks in its own raw originality and kicks any naysayers to the curb with its unforgettable impact.

This appears to be the start of a promising new chapter.

Heavy Pendulum is truly a remarkable record, not only for its quality but also because it represents Cave In’s ability to persevere after enduring so much trauma. It’s the work of a wholly rejuvenated and imaginative group.

This introspective, incendiary, searingly intelligent set of songs finds them as emotionally invested as they’ve ever been.

Many outstanding moments on this. ... A vicious mix of grime, hip-hop and punk, Bob Vylan Presents The Price Of Life is an intersectional look at what it’s like to exist as a black person in Britain within a capitalist society.

While DISCO4:: PART II isn't perfect, it's definitely worth your time.

Sure, some songs are better than others, but Ego Trip’s a rare thing: a 14-track album that features not a single duffer.

The confidence with which these 10 tracks are delivered is proof this is just the beginning. There’s some growing up to be done, but right now, The Linda Lindas are revelling in the joys of youth, and it sounds great.

John Frusciante’s performance is effective and restrained, and drummer Chad Smith shines when he’s let loose, notably on These Are The Ways. There are, however, way too many tracks that miss their marks, trying to supplant the old energy with wisdom; the magik with maturity.

The one thing holding Diaspora Problems back, save for its disappointing lack of hooks, is that it doesn’t exploit its strengths as fully as it might.

It really is impossible to pick fault with the record, every track playing its part, and further cementing their legend.

After that opener sets the tone with its intentionally sloppy orchestral dramatics, the frenzied Totally Fine bursts out of the gate with the kind of paranoid urgency that’s defined the band’s 12 years of their existence.

All of this is very good. Even better for the fact that, even though it ties to the movie, it doesn't have much reason to exist beyond the sake of doing it. It's wild, off the cuff, youthful, over-excited, exactly how this stuff is meant to make you feel.

While this record isn’t going to lure rock purists out of their dens, it has greater ambitions in mind, and the amount it achieves in the space that it does is staggering. For any artist of any genre, this is the textbook for innovation.

Machine Gun Kelly’s detractors will likely have you believe Mainstream Sellout is terrible. It isn’t, but nor is the fire burning as bright as it once was. There’s some fun to be had here, but ultimately, this is the weakest record of MGK’s rock era so far.

Deficiencies are rare. When Never Let Me Go calls time on its 13 songs with the exquisitely constructed Fix Yourself, it does so in a manner befitting an album that is overwhelmingly a success.

It’s music for the loveliest of golden summer evenings, but has a greater depth to it that reveals itself with more and more listens, as if it’s coming out of its own shell. And when it does, it’s nothing but wonderful.

Conceptually and musically, it’s a startlingly ambitious piece of work from a truly iconoclastic band. Their volatile negativity should, by rights, lead to an alienating experience, but instead Vein.fm summon a catharsis which feels timely and invigorating.