The BBC Sessions is a collection of impossibly fluent songs delivered in momentary fashion by one of America’s great bands. To hear them doing their thing without the clutter and fuss to which they have increasingly fallen prey is a wonderful thing.

The result is an album which is remarkable on every level.

On Motorheart The Darkness’s timekeeping is impeccable and with songs about shagging droids their virility proven beyond doubt. As for staying on the right side of that fine line, give the boys credit; two outta three ain’t bad.

This might be a more reflective, experimental IDLES, but they remain a band filled equally with anger, humour and vitriol. And, whichever direction they take, it still sounds fantastic.

For Thrice fans, Horizons/East is another strident step forward from one of post-hardcore’s definitive outfits. For listeners at one of life’s soul-stretching crossroads, though, it could serve as so much more.

Bottom-heavy power dynamic shines on tracks like Dark Horse, a parade of colossal bass drums and Demi’s pseudo-organ effects wizardry, which then reveals its true colours with a flourish of doomy, speaker-blowing riffs.

Engine Of Hell is not only a testament to her seemingly endless talent, but an unadulterated glimpse at a human being’s soul.

This won’t be an album for everyone. But for those with an appreciation for the cold, dark and depraved, it’s a hellscape worth falling into.

This knowingly middle-aged iteration of Limp Bizkit is far more likeable and less obnoxious than their younger self. But even so, they’ve lost none of their Big Durst Energy, and the knowing winks have only become bigger and knowing-er.

A long-overdue show of individual brilliance.

Hushed And Grim is a triumph from a band who have long been the final word in balancing the intelligent and the primal.

As with 2000’s perfect Midian – and this is the band’s best record since – Existence Is Futile’s magic is a surge of inspired creativity and pyrotechnic energy.

Not every single one of these 16 tracks is totally essentially considering their already-enormous discography, but anyone who wants less Every Time I Die is quite simply a fool – especially when the band are on such blistering form as they are here.

Deconstructive, deliberate and exquisitely designed, The Myth Of The Happily Ever After is the sound of a world-class band making truly world-class music. The only thing more exciting than every bar of its 11 songs is the promise of where Biffy Clyro might go next.

Eternal Blue is dizzying, cleansing and frightening. You need to delve deep to find your place within it, but that journey is the very thing that makes this album so interesting. It’s an entrance that brings darkness and beauty in shades of heavy that you haven’t quite encountered before.

Despite Tom’s superlative guitar playing tying it all together, the way it switches genres and atmosphere so chaotically ultimately makes it too uneven to really work as an album. Still, there are plenty of gems here, and – given how disparate it all is – probably something for everyone, no matter where your musical tastes lie.

Fearless album, an absolutely banging document of the last two years that will resonate far beyond his existing audience.

Musically there’s a touch more considered atmosphere than on predecessor AmeriKKKant, but this new Ministry line-up – featuring former Tool bassist Paul D’Amour and guest appearances from the likes of Billy Idol guitarist Billy Morrison and former Megadeth man David Ellefson – still knows how to rage.

This latest actualisation of their sound is just the beginning of an exciting new trajectory of musical exploration and experimentation.

A set of excellent songs. It’s a cohesive, largely understated collection, too.

The end result is not only an album that will delight diehard Tom DeLonge fans, but one that lovers of anthemic and occasionally experimental alt.rock will enjoy too.

By no-holds-barred closer The Scythes Remorseless Swing, it’s hard not to be overwhelmed with sheer awe just seeing these death metal progenitors getting back to murderous business. Killer stuff.

A staggering statement of endurance, diversity and sheer unbending power. Bow down to the kings.

In general this is a more reflective, far darker album than we’re used to from the former god of partying.

Now there’s much more to them. Forget the sophomore slump, Comfort To Me is the sound of a band on the rise.

Every single one of these songs flags up Bad Waitress as a genuinely exciting prospect.

The uninitiated are likely to be overwhelmed by such a glut of material, particularly when it takes so many stylistic detours and about-turns. It’s worth the endeavour, though, because there’s some sublime music here, deep and diverse, which has plenty to offer nerds and newbies alike.

Senjutsu is simultaneously more diverse than its predecessor but somehow manages to concentrate its punches. It’s the sound of a band that continues to strive when it’s already honed its craft to perfection.