There’s also enough evidence that If I Can Make It Go Quiet could easily cross over to become a big mainstream pop album. This is a record that signals the arrival of a major new talent.

Manson has given his audience a collection of tracks that are stronger, tougher and better than they have any right to be. His ascendance led to the death of the original rock era, but his music is more vital and creative than ever. A stunning work.

Hummingbird may not be as instantly likable as Gorilla Manor, but its seductive beauty and emotional pull is virtually impossible to resist.

The resulting album, jubilant and enthralling, is really a three way collaboration between the two artists and Kenis.

At times superfluous, at others explosively brilliant, it is more emotive than their previous releases and rather than shy away from this, the band jump in with both feet.

An album of considerable depths, beauties and terrifying contrasts.

Gallows may have been floundering during the last days of Frank Carter's time with the band but this very impressive comeback is the sound of a band reinvigorated.

Despite its origins, Infra stands as a staggering achievement, and as an album in its own right.

The two note piano trick gets slightly overplayed on Practicing Magic, but then it represents the only real misfire rather than a lack of ideas. This is an utterly intriguing and unsettling album.

The music covers a diverse range of styles, with the solo offering more of a melodic folk-rock affair.

An album that is wide-eyed in its sincerity, unafraid of sentimentality, for better or worse. The political message is familiar, and will never grow old. The means of expression, however, can become a little too routine.

It’s a solid, if slightly understated, album from one of the many underrated names in underground music. But a lack of variety and a lack of texture that lets this release down.

The constant barrage of guitar noise and distorted vocals can become exhausting, but those who stick with it will soon find themselves falling for one of the most compelling, magnetic albums of the year.

Keep You certainly succeeds in lyrical and atmospheric effect; there are just a couple compositional pitfalls that will likely work themselves out at live shows.

Red Barked Tree is a proud and unapologetic album; as it shifts between sounds there's conviction in every noise and word. It's the sound of a band still having a lot of fun. And there's not an ounce of nostalgia.

Efterklang have managed to locate the sweet spot where the organic meets the electronic, and have carefully stuffed each track full to bursting point with a gorgeous mix that at times seems to require a new musical format, just to deal with the sheer bandwidth of sonic invention on display here.

The Bride Screamed Murder is a slight feint away from the two albums that preceded it, but it is, nevertheless, distinctly Melvins.

Overall, Migration represents another step forward in Bonobo’s musical development, keeping what was already strong in his music but adding more colour and depth.

This relentlessly positive outlook may not suit those searching for a bit more angst in their pop music, but it suits Real Estate just fine.

One thing this record definitely lacks is variety. With a work claiming to hold "the band's most varied songs" it's disappointing and surprising to hear so little diversity.

The Liberty Of Norton Folgate may just be the best thing they have ever recorded.

It's lo-fi at its finest and a contender for one of the more impressive debuts of the year so far. Fans of the genre will lap it up and with very good reason: it's short, sharp and straight to the point.

In A Dim Light is a wonderfully challenging, disorientating and immersive work.

If some of the sound could be better defined, and the special effects shaken on with a slightly lighter hand, it would be more coherent and ultimately more impressive.

Taken individually, most of the songs are accomplished and engaging (though we could certainly have done without the dreary Sad Beautiful Tragic) but Speak Now was such a coherent work that Red can't help but feel modestly disappointing.

Whilst it isn't flawless, it's as accomplished as it is experimental and it seems to improve with each spin.

Lesser Evil is an album that is a bit too cluttered and patchy to stand out as a classic debut.

The sense of rhythmic looseness and American country lilt, showcased most obviously on My Rose Coloured Friend, coupled with Mulcahy’s lyrical sensibilities and questioning of his own troubles and existence, make for not a particularly life-changing but pleasing listening experience.

Even the very best double albums--London Calling, The White Album, Tusk – have their lulls, but this record has too many.

The band are renowned for (occasionally controversial) storytelling, with lyrics artfully crafted, stretching their old English vocabulary like the most wordy of literature students; this is still evident but it’s generally less adventurous.

Emotion succeeds on its own terms, arguably remaining truer to the spirit of the era, not to mention Jepsen’s stated aim of taking the time to craft an album rather than rushing to cash in on a YouTube sensation.

And The Anonymous Nobody is a more than worthy edition to their legacy, proving how relevant this treasure of a band is.

The tunes are back, the harmonies are still weirdly endearing, and the album hangs together really well as a whole. As a single piece of work it is a fine achievement, a rival to Oracular Spectacular in its personal and political observations.

It’s an exquisite, softly delivered wonder of an album which contains many of the things that he’s excelled at over the years while leading The High Llamas.

Billed as the spiritual successor to 2017’s Flying Microtonal Banana, sadly a lot of this new record feels like exactly that, the musical equivalent of the yellowy orange filter Hollywood tends to put on films and TV shows to indicate that it’s the Middle East. Yet as flippant as that may sound, there are still some flashes of innovation.

Always Inside Your Head strikes a good balance between continuity and change, and re-establishes Lone as one to watch in the electronic scene.

Thousands of artists will have spent the last 18 months writing music about being stuck at home, but very few will have realised said music by banging bits of their actual house. In doing so, Herbert may have produced the quintessential lockdown project.

There is no filler as such on Some Nights I Dream Of Doors, though there are some pacing issues that could be dealt with by rearranging tracks. However this does not prevent it from being an auspicious debut, and a fine showcase for Obongjayar’s many talents.

Though the magic isn’t always present on This Is What We Do, there is still a creative drive that makes the case for Barnes’ continuing relevance into the 2020s.

This is an album full of club bangers – anyone who prefers the ballads like Love Me Like You Do and How Long Will I Love You may be disappointed. Fans of decent dance-pop anthems though will be more than satisfied.

The Joy Of Sects is exhilarating, witty and addictive, which blends perfect pop melodies with raw punk energy. It may not appeal to everyone, but it’s the perfect album to dance into the apocalypse with.

That Golden Time is undeniably a slow-burner of an album, and like much of Villagers’ previous output, it’s more than likely that a few repeat plays will pay dividends.

It’s an album full of joy and vibrancy – even when it threatens to become a bit too abrasive, Sanelly’s pure pop sensibility always rears it back. Full Moon is Moonchild Sanelly’s finest album to date, and is about to introduce a brand new superstar to a whole new audience.

If there’s a weakness that prevents this record from reaching the heights of his previous works, it’s that Danny doesn’t always know what to do over these pumping, otherworldly productions (particularly the lesser underscores collaboration Baby) but it’s hugely encouraging to see the rapper engaging with younger generations, sounding lively and charismatic 15 years in.

Whilst La Isla Bonita might end on a downer musically, this is an album that finds Deerhoof sounding refreshed and eager to go for another 20 years.

FIBS is an album that shows Anna Meredith is excelling at what she does best – creating forward-thinking, engaging music that isn’t replicated elsewhere.

Not a bad addition to the Antipodean canon then, and an interesting mix of the macho, the sensitive, the timeless and the "cool right now"--although one suspects that the latter is not something the band have deliberately aspired to.

A couple of flaws prevent O Shudder from surpassing Out Of Touch In The Wild.... But this is still an impressive album by a band who possess intelligence, originality and personality.

They’ll need to be a little more adventurous next time around, but for now, they’re in fine fettle.

Furfour is not an album that will change the world. Tracks come and go leaving only occasional ear worming melodies and are largely bereft of sing along moments. It is, however, quite possibly the most interesting listen you’re likely to get all year as each play will reveal something you didn’t catch before and for that reason alone, it’s one that needs to be heard over and over.

Minor grumbles aside, Bromst is a thrilling, hyperactive album that runs from calm and composed to frantic and frazzled, usually within the space of an intro.

A startlingly honest and sprawling debut entry from Blanco, one which challenges the listener at every turn.

A record that doesn’t always astound but has a fair few enjoyable moments, and some very effective vocal performances.

At this point in Mogwai’s history, it’d be unreasonable to expect any kind of seismic shift in direction, but what they’ve done with Atomic is refine their methods to create something that could just possibly be the highlight of the career to date.

This is an adventurous and beguiling record that eschews the abrasiveness of Björk's more esoteric albums in favour of inviting the listener to explore its deeper reaches alongside the artist.

Armageddon is a sop to the disaffected fans of FFAF's pomp, and in seeking to recapture their ardour it tries too hard to pander to their needs. And from the few tracks that evidence what could have been, that's a shame.

A big, gorgeous old hug of an album.

Each listen reveals moments easily missed the first time around, and they become the moments where Pollard’s underappreciated genius shines brightest.

Glasvegas have managed to top their own previous efforts before we've even had the chance to get used to them properly.

Speech Therapy is a startlingly good debut album from a woman who could well be the biggest thing in UK hip-hop for many a long year.

It’s fair to say that sometimes, Power’s laudable ambition means that the album trips over itself. However, despite some flaws, it does make for a great showcase to remind everyone just what a brilliant songwriter Ben Garrett can be.

With Family Portrait Ross From Friends (or Dr Geller as he prefers to be called) confirms enviable production skills that were already displayed on hype-building 12” releases, but is missing some songwriting nous that would have lifted the album up and made it a more consistently engaging listen.

The main issue that dogs this album is weak composition – few of the ideas are outright bad, but they don’t earn their runtime.

The creative synthesis between her and producer Dre Skull means there isn’t a dull moment on the record. I Don’t Want: The Gold Fire Sessions is a gem, an energetic and hook-filled album that leaves the listener wanting more.

Proof Of Youth does lack the immediacy that Thunder Lightning Strike possessed in spades, but that is not to its detriment. Ian Parton has done it again and made an addictive, memorable second album.

Lengthier drawn out psych-jams similar to TOY could be one direction that would be an improvement, as would the addition of a guitar maestro, but without a special ingredient you can’t help but feel The Proper Ornaments will sadly find themselves consigned to granny’s shelf too soon, a fact you desperately don’t want to see happen, such is the potential hinted at throughout.

Idlewild have taken some time, done the latter and the result is their most accomplished album to date.

The album works best listened to in its entirely rather than separating each cut from one another.

The album may have been inspired by empty urban voids and desolate space but the ideas and execution found on Abandoned City conversely indicate a depth and creative vigour that is close to reaching peak form.

Naming a band The Very Best may seem like posturing, but on the evidence of Warm Heart Of Africa they're on to something.

The album's highlights far outweigh the more average moments, and there are enough signs here that The Like are going to be around for some time to come.

Pierce is clearly most comfortable when working in hybrid idioms that challenge preconceived indie-rock formats. When he is operating within those very constraints, the results are far less exciting. Luckily, this album tends to favour his natural operating zone.

Not only is it one of Costello’s best collaborative efforts, it’s also one of his best albums full stop. Recommended for Costello newcomers and long-time believers alike.

So When You Gonna... sets Dream Wife up nicely as a radical band their day, actively engaging with the major issues at hand, progressive in their sound and statements, and making the case for re-evaluating how gender is viewed in the music industry and beyond.

As much as Unicorn would benefit from having Solo or Salt Air included, it's a testament to the quality of the majority of the other tracks that they've still managed to make a solid debut.

Dying is a fine debut that suggests Spectres have a lot more to offer.

It is the best and most meaningful music Tracey Thorn has made in a long time.

Gathered is very much an album that needs time and attention to allow its strengths be isolated and to surface. Long term Gelb fans will appreciate his continued work rate, the extension of musical themes and hints at his past but overall it may be too slight and unprepossessing for the casual, passing listener.

This band clearly has a solid vision for their sound, and with a debut this satisfying, you’ll definitely want to see where that vision takes them next – especially if that involves more experimentation.

If only The Last Flight could have been longer – both initially and on this record – for it is a gripping page turner, the heart of the listener captured as we soar with Amelia Earhart through her last adventure. Returning to earth is momentarily distracting – but only heightens the desire for more.

The Howling Bells sound packs a punch as before, though there is a maturity to their interaction, a familiarity in each other’s presence that has been easily resurrected while stopping short of being the musical equivalent of comfy slippers.

In order to achieve the greatness within their grasp the bicycle club need to do some free-wheeling instead of all this furious peddling.

In comparison to earlier efforts though, the new album feels like a huge step forward and the lengthier fuzzed out jams are excellent, and surely good enough to be spotted on a few more radars.

This may all sound exhausting, but luckily The Hives have the songs to back up their energy.

Forgiveness Rock Record might lack the romance of Funeral but it's far more alive than Neon Bible, with an urgency and energy that invigorates rather than drains.

Louder, Please is an accomplished debut album, successfully straddling genres without being beholden to them and painting a holistic picture of this exciting new artist.

This soundtrack is a successful exercise in painting pictures with music.

When you're listening to Some Racing, Some Stopping you're caught up in a safe, warm, fluffy little world. It's only when you get back to harsh reality you realise that Headlights haven't really written much in the way of hooks.

Overall however, listening to Saltwater you realise that, while the album contains nothing seriously off-putting, you grow tired of Brazos’ style when listening to it.

There’s nothing revolutionary on Flat White Moon, especially if you’re a long-term fan. What it is, however, is another impressively solid record from Field Music, who have quietly, over the last few years, turned into one of the country’s most consistent acts.

As ever from this source, the songs are neatly crafted, with a touch of folk music added to their melodies, not to mention the instantly memorable and quotable lyrics.

The Big Roar has been some time in coming, but it has been well worth the wait. This could finally be The Joy Formidable's year.

It's a roots record alright, with a few crumbs of hope amidst the looming sense of armageddon.

Whilst Duppy Writer is an engaging and mostly enjoyable album, it also sometimes feels slightly lightweight, or intentionally minimal and immediate.

It never really breaks free, but The Absence is, in its best bits, an album of real beauty and elegance, and should cause hearts to grow fond of her.

It’s just 13 killer tracks hovering around the three and four minute mark originally designed for maximum 12” impact rather than a living room listen. But popping on headphones helps appreciate just how much Boo manages to squeeze into his tracks.

While this different feel to the album leaves some of the pacing feeling a little repetitive, there is no doubt that the talent shines through.

Numan’s consistency is also his biggest downfall. There’s simply no reason to listen to Intruder if you’ve heard any of the albums he’s released in the past decade, because it’s virtually identical to his previous works.