The dark, introspective nature of Idles’ latest release may well disappoint those who love the band for their rabble-rousing, tongue-in-cheek headbangers. But for those who’ve been waiting some time for the beloved Bristolians to take a left turn with their sound, Crawler is an absolute thrill.

Undergrowth and The Blades showcase the band’s ability to juxtapose delicate melodies and introspective moments with bursts of raw energy, delivering a rich listening experience that defies expectations.

Feels like a jolt to the nervous system in the best possible way. As a soundtrack to the weird times we all find ourselves in, and a potent call to action, it doesn’t get much better than this.

They’ve probably been around for too long now to attract any new fans, but Moon Mirror is a fine example of just how consistent one of the USA’s most overlooked rock bands have been over the decades.

There’s nothing particularly new on Stream Of Life, but that’s not an insult – in fact, listening to the jerky, frantic pop of I Knew That You’d Say That, you’re almost transported back to those heady A Certain Trigger days. Maxïmo Park have steadily become a reliable, consistent band – this is another example of their quiet excellence.

Strength in adversity is a powerful combination in music, and Doves have it in spades, delivering an inspiring sixth album.

It’s a strange and often beautiful record, proving that Charli XCX is indeed the perfect artist to soundtrack this new twist on Brontë.

When We All Fall Asleep Where Do We Go? is a startlingly good introduction to Billie Eilish, an album full of attitude but with the talent to back it up. Where she goes from here will be fascinating to see.

If you’re willing to give it your full attention, this is a frequently stunning record. It may often be difficult, but like most hard work, Utopia reaps its own rewards.

A compilation of soundtrack pieces shouldn't work on paper, but these evocative tracks stand up well after being separated from their original context.

Crack The Skye is a monolithic achievement from a band that never compromises in terms of vision or style. It's easily the best metal album of the last 10 years.

Gang Signs & Prayer does a brilliant job of introducing the world to the full scope of his talent, dismissing any notion of him being a one-trick pony.

The album is admirably steeped in pop music history without seeming derivative and where The Electric Lady triumphs is in its ability to connect with the listener.

Panda Bear Meets The Grim Reaper is often blissful electronica for both the heart and the brain.

By the time it finishes, it’s hard to avoid thinking that Cutouts is the best album by the best side project of the best band of all time. If you don’t get there, or if you read that and find that it doesn’t sell it to you, then you simply can’t be helped.

The more that you listen to this album, the more affecting it becomes.

The result is immersive, experimental, bubble-gum, intense and deep with stunning layers – and echoes the lockdown zeitgeist.

Despite the distinct swerve in direction, there are still numerous killer blows to be found on ...Like Clockwork.

The record is a captivating and challenging insight into the mindset of an intelligent artist who is pushing himself further than ever before, taking his music in new and fascinating directions.

Admittedly, sometimes the album’s ambition does threaten to trip itself up--there’s a few too many half-sketched ideas crammed in, as opposed to fully formed songs; a bit of ruthless editing might have whittled down the running time to a more manageable 50 minutes or so. However, there’s certainly more highlight than filler contained in Freetown Sound and it is, ultimately, an album that deserves to be heard.

Átta is an album which demands to be listened to in its entirety, a 56 minute journey which ebbs and flows magnificently. It’s exactly what you’d expect from Sigur Rós, with a few surprises thrown in, and without doubt one of the more welcome comeback stories of the year.

Singles is a record that is experimental, yet hugely accessible.

It’s another intriguing step in the evolution of Everything Everything – it ultimately doesn’t matter whether you buy into the overarching concept of the record when the songs are as good as they are on Mountainhead.

It’s a heart that’s filled to bursting on Babelsberg: you can’t really imagine a better soundtrack for the end of the world.

Not only is I Have Made A Place the most consistent work Oldham has put out in some time, it is up there with the finest in his now very extensive back catalogue.

The album is so intricate, rich and multilayered that it’s difficult to do justice to its overall sound.

It’s different enough from its predecessor to show marked progress, but with all the original essentials present and correct. The bar was set high; All Pigs Must Die have set it higher still.

The gestation has meant that the album really captures her individual voice as a writer and singer whilst the variety in the instrumentation and sound presents her as an open-minded seeker of new ideas.