Though the guests form a great deal of the fabric of the album, they do so on Battles’ terms, firmly entering their universe. No guest – not even Shabazz Palaces’ flowing verses on ‘Izm’ – steals the show. ... An album – that indulges the weird and wonderful side of Battles while also, simply, giving the people what they want.

From the brief flamenco break in the pummelling ‘Night Night Burn’ and the doomy guttural rumblings of ‘In The Name Of’ to the horns-up thrash anthemics of ‘Distortion’, ‘Metal Galaxy’ is a wild ride that, through its sheer energy, is somehow infectiously accessible.

Uneasy and scratchy, and powered by hefty beats from producer Justin Raisen, ‘No Home Record’ is a restless listen.

A wide-eyed, serotonin rush of an album that will make you eternally grateful for Swim Deep’s perseverance.

Ghosteen is one of the most devastatingly accurate accounts of grief that you’ll ever listen to. Yet it’s also, astoundingly, one of the most comforting. Few mediations on grief manage to navigate despair and catharsis as well as this.

Ode to Joy is the culmination of a musical evolution Wilco have been working towards for years. Ode to Joy holds a microscope to the small moments of life – which, thanks to the current political landscape, we’re often in danger of missing – and encourages us to see and cherish them.

This peek into FEET’s trippy world is a often confounding, but on the whole this album is a giddy ride from a British band not afraid to push the boundaries of their own sanity – and, quite possibly, your own.

It’s tempting to say that ‘Deceiver’ truly excels at its heaviest, given that these moments – the pitiless, piledriving chorus of ‘For The Guilty’; the heaving last gasp of feedback that roars through ‘Acheron’ – are the record’s most memorable. But it’s actually the more fragile moments on ‘Deceiver’ that ultimately prove to be the most emotionally resonant.

Where his previous projects felt sprawling, ’uknowhatimsayin¿’ succeeds in feeling compact while delivering a powerful project that is expertly produced and concisely executed.

Ultimately this record – her best yet – is about finding a different kind of love: the quiet self-examination after the dust of a break-up finally settles.

DaBaby has emotionally matured over the last six months, a fact that is reflected in his lyrics. Even if he has the superfluous style of the old DaBaby, there’s greater depth here than there was before.

Fittingly, the emotional alchemy that Opeth muster on album number 13 is a sonic brew that could sedate a herd of buffalo.

This serves as an honest, vulnerable, and occasionally brutal reminder of what Tegan and Sara have always been best at.

Turn To Clear View showcases both the cross-pollination and multiculturalism of London, while distinguishing Armon-Jones as an artist whose tastes are as varied as they are exceptional.

Weirder, funnier and fiercer than ever, Girl Band return as heroes of the weirder corner of rock music, and they’ve outdone themselves this time.

Tove Lo’s fourth album sees the star largely stick the formula that made her successful in the first place, but that’s no bad thing: it features some of her best work in years as she boldly embraces new sounds and unusual collaborators. Exhilarating and fearless, Tove Lo has ensured she’s stayed relevant with a bold, brash and at often quite brilliant record.

Musically, the album hits in all the right spots, solidifying their expertise at penning sunny, earnest Radio 2-core. And when they deviate from the easier path, most notably on the slow, deeply sombre ‘Strange Room’, which sees Chaplin’s voice take on a genuinely affecting, downtrodden lower tone, ‘Cause and Effect’ begins to exist as more than a comeback album for the sake of a comeback album.

A spiritual follow up to 2003’s ‘Untitled’, ‘Nine’ sees the trio as confident adventurers. Dealing with the ideas of despair, loneliness and longing, the record doesn’t shy away from the shadows but you’re never far from a dash of hope.

Johnny Venus and Doctur Dot prove to everyone that rap groups are on the rise. In a genre overpopulated with solo artists, it’s refreshing to see a duo emerge from the ashes. If you give the sick lyricism and jazz overtones a few more years, they could be the next Outkast.

Song to song, it’s genuinely exciting to see where JPEGMAFIA might go next, and you never quite know what to expect. JPEGMAFIA’s third album is his most accomplished record yet.

Melodically there’s consistent bombast – the record opens with ‘Stepdad’s wonky sound, sounding like an orchestra disco epic played on a Fisher Price keyboard. ‘Miami Memory’ becomes a slipperier prospect when Cameron’s usual ironic schtick reappears.

This urgent and important record will ensure the veterans don’t get lost in the shuffle.

Bold, brash and brilliant, this is Charli XCX at her most genuine, and it’s dazzling.

Metronomy Forever is, in many ways, remarkable: the band have proved their longevity and ability to reinvent, retool and still maintain their love and ability to pen stellar pop songs. We’re already looking forward the sequel.

Beneath The Eyrie is still arguably their most consistent body of work since their 2004 reformation and certainly their most inventive in 28 years. What a spooky surprise – that this incarnation of Pixies would turn out to be such a dark, dark horse.

His songs are rarely constructed from a place of deeply considered meaning. Instead, they’re largely streams of his conscience: creations that invite listeners to cosy up in his world. On ‘House of Sugar’, it’s his most exciting invitation yet.

Hypersonic Missiles mostly hits the notes he longs to convey: it’s by turns euphoric and melancholy, self-deprecating and righteous, untethered and claustrophobic. There are no easy answers here, but Sam Fender’s asking the right questions.

This album lacks the novelty factor – Liam finally going solo – that made ‘As You Were’ so welcome. But it’s more diverse (everything’s relative) and textured.