This is an album to be held close to your heart and revered as psych-pop scripture.

Much of this album, with its gritty street-level reportage of booze-alleviated dereliction and crooked politicians, feel so perfect for right now.

Green’s studio debut is relentlessly vibrant, an album that writhes and squirms in the eternally unpleasant truth that we are creatures of inconsistency and contradiction.

While NewDad might not be as structurally inventive as the power-pop-indebted Hotline TNT or as heavy as the nu-gaze-leaning Fleshwater, they are perhaps more streamlined and together, which counts for plenty. ‘Madra’ is the sound of a band who have reckoned with where they come from and used it to map out where they’re going.

Ultimately ‘Flux’ feels like a record about holding clear boundaries, constantly shifting in the face of set expectations, and following your creative gut instead.

Recorded with Vår’s Loke Rahbek on synth and Malthe Fischer, ex-Oh No Ono, on guitar and production, these 10 electro-pop songs truly glisten.

By the end this has the feel of a magnum opus, unrelentingly ambitious with just the right amount of self-indulgence.

Taken whole, it’s a looping, dense, all-encompassing experience where anger and tenderness bang heads throughout. Marshall’s world is grimier than ever.

No-wave krunch meets mutant disco shuffle meets snippets of global radness and, yeah, it's better than Animal Collective's new one.

As intimate, beautiful and witty as ever, there’s an impassioned life in Leonard that's missing from many artists a quarter of his age.

‘Lonely People with Power’ could perhaps have used a little pruning. For the most part, though, it stands as a testament to the power not just of forging your own lane, but becoming master of it, too.

With this jumble of wordplay and hooky songwriting, they’re unmistakably on fighting form.

Nothing here totally confounds the suspicion that Yancey was a brilliant producer, but merely an able rapper. Still, as a respectable cap on a great body of work, The Diary will do nicely.

So there aren't any retreads of 'DARE' or 'Clint Eastwood' but it is a stunning album from start to finish.

This long-awaited debut album proper from the preacher-chic-touting fivesome is an intoxicating mix of apocalyptic riffs, sob-worthy singalongs and brooding blues.

Crossing boundaries of pop music and chasing transcendence, SOPHIE achieves the rare feat of making abstract, difficult electronic music that hits you straight in the heart.

With every step this challenging record shows how grime can respond to and inform other genres while always remaining a force unto itself.

It's blissful, soulful proof that although SMD might have stopped chasing the hit parade, they haven't stopped making hits.

A classic case of ugly and beautiful: TN&F's passive melodicism and aggressive innovation clash in a dazzling blaze of psych/sonic fireworks.

Lahey’s debut is a confessional, confident and important arrival.

As a collection of songs, however, Colors is by far Beck’s most upbeat and enjoyable record from front to back since the ’90s. Repeated listens will no doubt be rewarded.

It's a collection of enthralling confessionals where stabs of bleakness mean that heavy bleeding dominates.

Kojey Radical sells us the image of refined Renaissance man he has become, rather than merely resting on his potential.

'Ringleader Of The Tormentors' sees Morrissey not only in wonderful voice, but more flamboyant and alive than at any time in his solo career.

Tune-Yards might have taken a deep breath and a step back, allowing their infectious melodies some space, but their breathless skew-whiff eclecticism remains anything but safe.

The choices and the arrangements on ‘The Land is Inhospitable…’ are some of Mitski’s most complex and richest, yet they translate to such simplicity, a statement that there is pain and love and that’s it. Those are the ingredients with which we make everything.

Whether channelling her larger-than-life musical heroes or shrouding her music in something more subtle, Moriondo’s lyricism shines through – she’s yet another Gen Z star willing to try the pop-punk outfit on for size. The fit? Pretty damn good.