Royce’s 2018 album ‘Book of Ryan’ was always going to be a tough act to follow, but ‘The Allegory’ stands up as an accomplished body of work, packed full of poetic intricacies and life lessons, soundtracked by the sound of Detroit; it will likely end up on the majority of 2020 end-of-year rap lists.

‘Hellfire’ delivers more musical thrills and about-turns per minute than few other records we’ve heard this year. Sounding more assured of their creative agility than ever before, ‘Hellfire’ is the work of a very special group of alchemists.

The sombre project is blistered and broken in all the right ways. Peep’s legacy of making music that has no purpose other than making itself felt is the glue that holds this sprawling 13-track album together.

A truly special tribute to a wonderful songwriter.

This pared down approach will likely disappoint some fans who hoped to hear final contributions from vocalists Champion, Joba, Merlyn Wood and Dom McLennon. But this is Abstract’s moment to write the final Brockhampton chapter, and it’s heavy on the confessions.

It's still wordier than a second-hand bookshop and the screwy mental tics remain. But it's also one of the most heart-lassoing '70s radio-pop records since the death of flares, its psychedelic oddness leavened with big gnarly hooks, the emotional thwack of a shattered heart and intimate and bloodied narratives.

'Mary Star Of The Sea' has that kind of miracle-working effect: a euphoric and consistent hour of genetically-tweaked stadium rock that re-establishes Billy Corgan as a great, rather than ridiculous, frontman.

Distortion is above cynical reproach--effortlessly modern and definitively 2008, yet flitting with the ghosts of Shields, Madder Rose (ask your 90s alt.indie expert uncle) and The Jesus And Mary Chain.

White Denim (now a four-piece) have never been less than terrific, but as they move further from the garage and embrace their real love – early '70s Americana – they defy all probability.

So Much Fun is a free-spirited record that comes with heavy doses of ridiculousness, but it’s lovably silly, and is a welcome dose of light relief.

They’ve certainly made interesting, bolder leaps than before with this second record. We’re ready to jump in again.

An enchanting record of twists and turns.

Brothers And Sisters Of The Eternal Son bills itself as a concept album, a road movie with no end, but the songs are tight, the meaning incidental and any big ideas play second fiddle to bewitching tunes and delicate harmonies.

While ‘Pain To Power’ advances the harsh pairing of the saxophone with noise-rock that Maruja have already explored, its standout moments come through expressions of love – fulfilling Wilkinson’s on-stage promise.

Though not quite closure, ‘Lost Wisdom Pt. 2’ is the sound of Mount Eerie reaching clarity.

The record has its flaws – the odd misguided lyric, the occasional slip into by-numbers pop melodies – but there’s plenty of space for those mistakes to be made. ... In the end, they are minor bumps in a record of intense beauty, among the best of the Manics’ records this century.

Familiar emotionally yet revelatory in its execution, the album sees Blake sing about mundane, almost incidental upsets that sting harder than they should. Piercing lyrics are matched by innovative, fearless production.

Named after a fabulist, yes, but still not quite fabulous.

Sweeter than its landfill-conjuring name suggests, Diaper Island supplies the harsh guitar harmonics, reverb and claustrophobic atmosphere VanGaalen does best, but aligns them with some of his prettiest songs.

La Priest, he’s made one of the debuts of the year.

No-one could accuse this Portland trio of skimping on sarcasm--even if it is the kind of sarcasm that dribbles likes a student rallying against capitalism as he pulls in to a McDonald's drive-thru.

This is the unmistakeable sound of a star being born: this is an album with something to say, in a voice all of its own.

The likes of 'Chromakey Dreamcoat' sound like they were made on a potter's wheel rather than an iBook. [15 Oct 2005, p.36]

Even the ticking percussion and trilling synths can't hide the sheer melodic oddness of Gartside's songs. [3 Jun 2006, p.35]

You can hear Badu’s influence across EarthEE, which flows as freely as its predecessor, but is more sonically detailed and rich.

The Membranes’ first album in 26 years is an extraordinary comeback.

Unravelling fresh surprises with each listen, ‘I Love The New Sky’ is the sort of immersive cult-pop experience that should break the ‘trending’ column in its own right.

This album is a quiet triumph, the understated work of an artist honouring herself and her creativity.