From the rebellious energy that dances across the album to the twelve-minute shape-shifting epic of ‘Angel’ that closes out the record with giddy excitement, Working Men’s Club don’t know how to be boring.

‘Shamir’ is the sound of a consistently evolving artist reclaiming their path and making the music they want to make. His seventh, self-titled album is the sound of an artist who’s finally found his musical home.

Gorgeous closers ‘Grenade’ and ‘Beautiful Boy’ run the risk of ending proceedings on the glacial landscape that you’d expect from Sigur Ros, but there’s enough of a futuristic sheen and optimistic vibe to keep it feeling fresh and make you wanna dive back in for more.

‘Free Love’ sounds like a tug of war exertion without the fun, satisfying results of albums past.

Boisterous, full of sincerity and exciting enough to make you jump on a table in the middle of a board meeting, ‘Tickets To My Downfall’ is an album that not only proves MGK can do whatever the hell he likes, but that also maybe pop-punk still has something important to offer the world.

During the album’s second half, the energy increases even further as Murphy and Sheffield-based collaborator Crooked Man (aka DJ Parrot) throw the party of a lifetime.

With each song so different to the last, ‘Renegade Breakdown’ is one of those rare records that will have listeners discovering new intricacies on each listen.

‘What You Gonna Do When The Grid Goes Down?’ is Public Enemy’s best effort since 1998’s ‘He Got Game’.

A smooth gear shift from 2013’s ‘The Best Day’ and 2018’s ‘Rock and Roll Consciousness’, ‘By The Fire’ manages to stand out with ease. Here Moore elegantly channels his sense of poise and calm in a word going to shit, easily proving why he remains a hero in the world of alt rock.

It’s maturer in sound and ideas, but retains all the hallmarks of what made Fleet Foxes so great in the first place: rich and studied folk compositions, unrivalled harmonies, stories that strike to the core of nature and human existence, and a dedication to art that emotionally lifts you off this planet.

It is wonderful to once again hear a Deftones record as heavy as molten lead, as furious as an enraged honey badger.

Alongside stripped-back, warm and hazy versions of the always powerful ‘Ohio’, ‘Alabama’ and ‘Southern Man’, Young’s new take on 1977’s ‘Campaigner’ hits especially hard.

Anxious instrumentals echo the album’s uneasy outlook and fear of the future, and when they combine forces it often makes for an astonishing listen.

A smattering of other tracks aside (including the lush groove of ‘Getting Closer’ and the funk-jazz fanfare of ‘Love Is Everywhere’), this collection doesn’t fully provide catharsis nor connection.

This record fuses the first album’s goofy sense of humour with ‘Joy…’’s brazen manifesto for a healthier society. Despite their imperfections and the often justified criticism, IDLES are ultimately a good thing. The band want to take you on a trip and for you to enjoy the ride, and for the destination to be serene. Hold on tight.

He’s managed to morph his frustrations of the world into engaging and frantic material that packs serious spirit. Yet another album we’ll have to wait to see live.

Aside from some uninspired, though pretty acoustica (‘Someone Else’s Trees’, ‘Laundry And Jet Lag’), ‘BREACH’ is a stellar progression overall. Lily’s lurch to zestier compositions is a welcome divergence.

This is an album that shimmers with warmth and cautious optimism from start to finish.

Tinny edges became velvet borders, vintage synths took on new wave flavours and plush theatricality beckoned. ‘Host’, however, marks their emergence from their pupae stage.

Yusuf now far more believably inhabiting the role of the kindly dad offering his offspring life advice, while ‘On The Road To Find Out’ showcases the most impressive transformation, weaving in North African desert sounds against steadfast lyrics of self-discovery. It suggests that Yusuf has now finally found just what he was looking for all those years ago.

It’s a diverse collection to keep you on your toes.

A record that otherwise skids wildly across art-rock history leaving steaming tyre tracks in its wake.

Fearless in their desire to break out of any pigeonholes but smart enough to play to their strengths, Haiku Hands’ self-titled debut does good on all that live promise and takes on new challenges as the trio adapt to the world around them.

If ‘Re-Animator’ felt like it was lacking the kind of knockout blow that Everything Everything have provided on every album, they saved it until last. Recent single and album closer ‘Violent Sun’ is the biggest revelation here. You could mistake its opening seconds of The Boss’ ‘Dancing In The Dark’, or its propulsive surge of drums and synths for New Order.

While chaos and confusion may surround us, Manson’s response this time is a dose of respite, mercy, clarity and his most human work so far.

‘American Head’ is a soft, reflective moment of taking in and appreciating the vista once the trip has worn off – when king’s heads and evil pink robots have melted away – and the dust has settled.

It may have taken over a decade for Doves to pour their souls into ‘The Universal Want’ but if it turns out to be their final transmission, it will be a worthy closing chapter to their epic legacy.

Although it can be overblown, Sean’s passion is unreserved here, the record peppered with Instagram-worthy captions that urge listeners to take inspiration from their surroundings while keeping friends and family close.